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FactBench
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https://www.wikidata.org/wiki/Q160478
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en
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Odysseas Elytis
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Greek poet and art critic
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https://www.wikidata.org/wiki/Q160478
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for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness (English)
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Elytis, Odysseus
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Odysseus ElytisBORN: 1911, Heraklion, Crete, GreeceDIED: 1996, Athens, GreeceNATIONALITY: GreekGENRE: Poetry, nonfictionMAJOR WORKS:Orientations (1939)The Axion Esti (1959)Maria Nefeli (1978)The Little Mariner (1988)West of Sadness (1995) Source for information on Elytis, Odysseus: Gale Contextual Encyclopedia of World Literature dictionary.
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Odysseus Elytis
BORN: 1911, Heraklion, Crete, Greece
DIED: 1996, Athens, Greece
NATIONALITY: Greek
GENRE: Poetry, nonfiction
MAJOR WORKS:
Orientations (1939)
The Axion Esti (1959)
Maria Nefeli (1978)
The Little Mariner (1988)
West of Sadness (1995)
Overview
An internationally acclaimed poet who is considered among the foremost Greek literary figures of the twentieth century, Odysseus Elytis celebrated the splendors of nature while affirming humanity's ability to embrace hope over despair. Combining his interest in surrealism with lyrical evocations of Greek landscape, history, and culture, Elytis created poems that exalt the virtues of sensuality, innocence, and imagination while striving to reconcile these attributes with life's tragic aspects. A recipient of the 1979 Nobel Prize in Literature, Elytis was cited by the Swedish Academy for writing “poetry which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativity.”
Works in Biographical and Historical Context
Childhood Summers by the Sea The youngest of six children, Elytis was born in Heraklion, Crete, to a wealthy industrialist and his wife. He attended primary and secondary schools in Athens before enrolling at the University of Athens School of Law. As a youth, Elytis spent his summer vacations on the Aegean Islands, absorbing the seaside atmosphere that deeply informs the imagery of his verse. Also essential to Elytis's poetic development was his attraction to surrealism, which he developed during the late 1920s through the works of French poet Paul Éluard.
Artistic Awakening In 1935, after leaving law school, Elytis displayed several visual collages at the First International Surrealist Exhibition in Athens and began publishing poems in various Greek periodicals. His first collection of verse, Orientations, focuses on the beauty of the Aegean landscape. These poems also display Elytis's affinity for such surrealistic devices as the portrayal of supernatural occurrences, exploration of the unconscious, and personification of abstract ideas and natural phenomena. In his next volume, Sun the First, Elytis confirmed his predilection for examining nature's intrinsic relationship with human spirituality.
Reflections of War in Poetry During World War II, Italy and Germany were allied. Italy's dictator, Benito Mussolini, grew anxious to emulate the territorial expansion of Germany's leader Adolf Hitler, and resolved to seized Greece. During the Italian invasion of Greece in 1940 and 1941, Elytis served on the Albanian front as a second lieutenant in Greece's First Army Corps. The heroism he witnessed amid the tragedy and suffering of combat is reflected in his long poem Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign. Centering on the death of a young Greek soldier whose transfiguration and resurrection serves as an affirmation of justice and liberty, this work advances Elytis's concerns with the merging of physical and spiritual existence and pays tribute to those individuals who resist oppression and defend freedom.
Immersion in Civic and Cultural Affairs Following the publication of Heroic and Elegiac Song, Elytis ceased producing poetry for more than a decade, immersing himself in civic and cultural affairs. From 1948 to 1953, during a period of civil war and subsequent civil unrest in Greece, Elytis lived in Paris, where he studied at the Sorbonne and wrote articles in French for Verve magazine. Several years after returning to Greece, Elytis published The Axion Esti, an intricately structured cycle alternating prose and verse. Indebted for much of its tone, language, symbolism, and structure to the liturgy of the Greek Orthodox Church, The Axion Esti incorporates elements of Christianity and images of Grecian landscapes and culture while augmenting Elytis's concern for the spirituality of the material world.
In the 1960s, translators abroad began to take notice of Elytis's poetry, and translations of his poems appeared in German, English, Italian, and French. During this period, Elytis traveled extensively. In 1961 he journeyed to the United States as a guest of the State Department; in 1962 he visited the Soviet Union; in 1965 he toured Bulgaria; in 1967, just before the military coup, he visited Egypt; and in 1969 he moved to Paris.
1979 Nobel Prize in Literature In 1975 Elytis was offered an honorary doctorate from the Philosophical School of the University of Thessaloníki, and he was proclaimed an honorary citizen of Lesbos. In 1979 he was proclaimed an honorary citizen of Heracleion, Crete. In 1975 Books Abroad dedicated an entire issue to his poetry. The greatest surprise for the poet, however, came in October 1979, when the secretary of the Swedish Academy announced the awarding of the 1979 Nobel Prize in Literature to Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness.” Other candidates for the 1979 Nobel Prize in Literature included Graham Greene, Jorge Luis Borges, Gabriel García Márquez, and Simone de Beauvoir. The announcement was received with tremendous enthusiasm in Greece.
Post-Nobel Popularity Elytis lived and continued to create for seventeen years after receiving the Nobel Prize
in Literature. His post-Nobel popularity kept him busy. The few years that immediately followed the Nobel presentation were spent almost entirely on award receptions, presentations, and speeches around the globe. In 1980 he was presented with an honorary doctorate from the Sorbonne in France, and in 1981 he received an honorary doctorate from the University of London. He was also declared an honorary citizen of Larnaca and Paphos (Cyprus), and he was invited by the Spanish prime minister Adolfo Suárez González to visit Spain, where he was declared an honorary citizen of Toledo (in the fall of 1980). The Royal Society of Literature (United Kingdom) presented him with the Benson Medal in 1981, an award given as lifetime recognition in poetry, fiction, history, and belles lettres. Also in 1981, Rutgers University, in the United States, established the Elytis Chair of Modern Greek Studies in honor of the poet, and in March 1982 he was presented, by Mayor D. Beis of Athens, with the Gold Medal of Honor of the City of Athens. During the 1980s Elytis published three collections of poetry: Tria Poiîmata me sîmaia Eykairias (1982, Three Poems Under a Flag of Convenience), Îmerologio enos Atheatou Apriliou (1984; translated as Journal of an Unseen April, 1998), and O Mikros Nautilos (1986; translated as The Little Mariner, 1999).
West of Sadness Elytis's final collection, Dytika tîs Lypîs (1995, translated West of Sadness) was written in the summer of 1995 in Porto Rafti, Greece, where the poet was vacationing with fellow poet Ioulita Iliopoulou, who had been his partner for about a decade (he had never married nor had children). The seven poems of the collection are “more dense,” as Elytis wrote, “and for this reason more difficult, but closer to my ideal.” The title of the collection signals its mood: on one hand, the life of the eighty-three-year-old poet is moving westward toward its setting; but on the other hand, it also moves “west of sorrow,” that is, beyond where sorrow itself sets. The biographical events in the poet's life are insignificant: “what remains,” the collection concludes, “is poetry alone.”
Elytis died of a stroke in his apartment in Athens on March 18, 1996. A posthumous collection titled Ek tou Plîsion (From Nearby) was put together by his heir, Iliopoulou, and was published in 1998.
Works in Literary Context
Elytis's poetry is often read in the context of surrealism, the artistic movement known for its rejection of objective reality. Indeed, he is the translator of numerous surrealist texts into Greek and has written extensively on the subject, many of these essays collected in the volume The Open Book. Significantly, in 1991 an exhibition of Greek poetry and painting, including work by Elytis, was staged at the Georges Pompidou Centre Paris, titled “Surrealist Greeks.” This title is especially accurate in describing Elytis, because although Elytis's work does incorporate many of the elements of surrealism, it is equally important to remember where Elytis comes from, as he infuses his writing with the rich culture, heritage, landscapes, and literary traditions of his native Greece.
“Greek Reality” Although Elytis engages with contemporary surrealism in his poems, it would be misleading to exaggerate the extent of the poet's commitment to any movement. Even in the early verse, surrealism is adapted (to borrow Elytis's own term) as the poet confronts “Greek reality,” drawing upon the resources of a native poetic tradition. In fact Elytis has been outspoken in stressing his intimate poetic relationship to Greek literary figures as diverse as Andreas Kalvos (1946) and Alexandros Papadiamantis (1976). Moreover, echoes from Greek folk poetry, Byzantine hymns, and liturgical texts reverberate through his poetry. As Elytis remarked in his Nobel acceptance speech in 1979, the poet must simultaneously “recast the elements to the social and psychological requirements of [his] age.” Echoes from the German poets Friedreich Holderlin and Novalis interact with allusions to the national Greek poet Dionysios Solomos.
LITERARY AND HISTORICAL CONTEMPORARIES
Elytis's famous contemporaries include:
George Seferis (1900–1971): Greek poet who became the first Greek to win the Nobel Prize in Literature in 1963.
Mikis Theodorakis (1925–): One of Greece's best-known composers, Theodorakis scored films such as Zorba the Greek (1969) and Serpico (1973), and also put Elytis's The Axion Esti to music.
Panagiotis Kanellopoulos (1902–1986): Greek author and politician who briefly served as prime minister of Greece twice, in 1945 and in 1967.
André Breton (1896–1966): French writer often credited as the main founder of the surrealist movement.
PaulÉluard (1895–1952): This French poet, partially influenced by the American author Walt Whitman, was associated with the founding of the surrealist movement.
Surrealism and the Free Association of Ideas Elytis adapted only selected principles of surrealism to his Greek reality. Some other characteristics of surrealism, such as automatic writing, were considered unacceptable to Elytis. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood
of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Orientations, published in 1936, was Elytis's first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis's work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
Popularity Today Resists Classification Odysseus Elytis's popularity in Greece remains astounding. He became a national commodity after the Nobel Prize, as evident in a continuous inclusion of his name in cultural and national symbolism: More than a dozen streets in Greece and Cyprus are named after him; a life-size statue sculpted by Yiannis Papas was placed in one of Kolonaki's most central squares (Plateia Dexamenis); and a cruise ship, a theater on the island of Ios, and a hotel in Thessaly have all been given his name. Biographical information and scattered lines from his poetry adorn tourist pamphlets enticing visitors to travel to the Greek islands. Such cultural incorporation comes as a stark contrast not only in relation to the deeper essence of his poetry but also to the ascetic life he had led in his small apartment. Elytis's poetry clearly resists superficial classifications. His multifaceted style of writing, along with his lucid theoretical formulations, earned him an enduring place in modern Greek literature.
Works in Critical Context
When Maria Nefeli was first published in 1978, it met with a curious yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti,” and for that reason viewed this new work as “an experimental and not-so-attractive creation of rather ephemeral value.”
The Eternal Female The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet … not directly [transcribing] actual events,” as he once stated, Maria Nefeli is based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis's poem has changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis's youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blasé representative of today's young woman…. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
COMMON HUMAN EXPERIENCE
Surrealism is often remembered as a movement in the visual arts—painting, in particular. But as its striking images and the way the juxtaposition of seemingly unrelated images impressed viewers of the visual arts in the early years of the movement, it is easy to forget that surrealists developed out of a literary school—the Dadaist school—that emphasized sound over reason in their poems. Here are a few more works of surrealism that were produced at the time Elytis worked in the form:
The Magnetic Fields (1920), a novel by André Breton and Philippe Soupault. This work is considered the first surrealist novel because its authors utilized the “automatic writing” technique characteristic of surrealism. In “automatic writing,” a writer attempts to write continuously while purposely trying not to think about the words he or she is writing.
Night of Loveless Nights (1926), a poem by Robert Desnos. Desnos is considered one of the founding fathers of literary surrealism, and this extended poem about unrequited love is one of his finest.
Le Paysan de Paris (1926), a surrealist text by Louis Aragon. This work represents a loving portrayal of the places and people that make up the surrealist movement—a kind of literary portrait—written at the peak of surrealism's influence.
The Persistence of Memory (1931), a painting by Salvador Dalí. In this surrealist work, clocks are depicted as melting and hanging over a tree, a horse, and a desk, thereby exemplifying surrealism's interest in juxtapositions of unlikely images
Lyrical Humanism Despite the initial reservations voiced by some critics, Maria Nefeli has come to be regarded as the best of Elytis's later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Responses to Literature
Surrealism is a fairly unique artistic movement insofar as it has influenced artists of various media, including both visual and literary arts. Read Elytis's Orientations and look at Salvador Dali's The Persistence of Memory. In what ways do both works use surrealist elements similarly? In what ways do the two works display different surrealist traits?
Read The Axion Esti. This text has been said to be indebted to the Greek Orthodox Church. How does Elytis use the themes and language of the church in these poems, either to evoke a tradition or to critique that tradition? In your response, make sure to cite specific passages from Elytis's work to support your claim.
Many authors who otherwise were in tune with the artistic ideals of surrealism eventually moved away from the movement because of its communist ethics. Using the Internet and the library, research the surrealist movement's relationship to communism. Then, in a short essay, analyze how surrealist authors—including but not limited to Elytis—and artists use their work to support or refute communist ideals.
Elytis loved his home country of Greece and wanted to express its beauty through his poems. Because of the effectiveness of these poems in expressing the beauty of Greece and the Aegean Sea, Elytis has been called a “sun-drinking” poet. Think about your own hometown. If you were a poet who was interested in describing the physical terrain and culture of your hometown, what would critics call you? Why? In order to answer these questions, you might try writing a few lines of verse in honor of your hometown to get you going.
BIBLIOGRAPHY
Books
Decavalles, Andonis. Odysseus Elytis: From the Golden to the Silver Poem. New York: Pella, 1994.
Demou, Nikos. Odysseus Elytis. Athens: Ekdoseis Nefeli, 1992.
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Nobel Laureate Odysseus Elytis’ works to find a permanent home in Plaka
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2020-12-21T19:39:41+00:00
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Described as the ‘sun-drinking poet,’ the late Nobel laureate Odysseas Elytis will be honoured with a permanent home dedicated to preserving his poems, photographs and texts on the corner of Dioskourou and Polygnotou streets in Plaka. Considered one of the most acclaimed poets of the 20th century, Elytis was born on Crete in 1911 and passed […]
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Athens Insider
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https://www.athensinsider.com/nobel-laureate-odysseus-elytis-works-to-find-a-permanent-home-in-plaka/
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The listed building that will house Odysseas Elytis’ works, consists of a main residence and two auxiliary buildings. The building, owned by the Culture Ministry, will include the creation of an exhibition area but also a space for the storage of Elytis’ archives. The residence’s ground floor will house a reception area and a visual presentation of significant milestones in Elytis’ life and work. Also on display will be books, manuscripts, the poet’s favourite poems and works of art, translations, audio and visual material and personal items from his office.
Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clear-sightedness, modern man’s struggle for freedom and creativeness … [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition.
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong.
I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece.
His poem Maria Nefeli came to be regarded by critics as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces.”
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https://www.coppercanyonpress.org/authors/odysseas-elytis/
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en
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Odysseas Elytis – Copper Canyon Press
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en
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https://www.coppercanyonpress.org/authors/odysseas-elytis/
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Odysseas Elytis was born in Crete in 1911 and at age eighteen he heard “a secret voice” that led him to abandon everything for his art. His nom de plume fuses three important Greek concepts: eleftheria (freedom), elpitha (hope), and Eleni (Helen of Troy). His first book was published at the outset of World War II and was followed by a publishing history that spans more than half a century and includes poetry, essays, and translations into Greek from Rimbaud, Genet, Brecht, García Lorca, Mayakovsky, and Ungaretti. Elytis received the Nobel Prize for Literature in 1979 and died in Greece on the last day of winter in 1996.
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FactBench
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3
| 13
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https://poetrydispatch.wordpress.com/2008/04/08/odysseas-elytis-calendar-of-an-invisible-april/
|
en
|
poetry dispatch & other notes from the underground
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2008-04-08T00:00:00
|
Poetry Dispatch No. 226 | April 4, 2008 Odysseas Elytis The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America…
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en
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https://secure.gravatar.com/blavatar/b9869b178b76b72f72c25bc9afc3a8ed80d9ae71c141e9ad746d34aa5bade613?s=32
|
poetry dispatch & other notes from the underground
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https://poetrydispatch.wordpress.com/2008/04/08/odysseas-elytis-calendar-of-an-invisible-april/
|
Poetry Dispatch No. 226 | April 4, 2008
Odysseas Elytis
The Nobel Prize for Literature committee is often criticized (even condemned in some circles) for not always doing the obvious: bestowing honor and recognition on authors many of us, especially here in America, are familiar with. I won’t go into the long list of America writers alone who, in the minds of many knowledgeable people, should have won the Nobel Prize in literature but never did. (Norman Mailer, for one, comes to mind). But we sometimes forget the existence and role of the writer in other cultures. In many countries, a more honorable and recognized a calling than the American scene where the writer has been pretty much reduced to a huckster, from TV talk shows to endless book tours, his success depending on just about everything else than whom he speaks for from his heart and whatever art he may have achieved in a lifetime of learning to say it well.
I have always welcomed the Nobel Prize committee’s contrary nature and particular insight in plucking some totally unknown foreign author (to us), thrusting that author into the world spotlight, giving him/her the attention so well deserved, even though their work may have been barely been translated into a handful of languages.
I remember the Nobel Prize for Literature going to the Greek poet, Odysseas Elytis in 1979 and saying to myself: Odysseas, who? How do they find these writers?
But the more unknown, the more obscure the writer, the more likely I am these days to purchase his or her book immediately—if an English translation exists.
Here is Elytis in prose and poetry. I think you will see why the committee bestowed the world class honor upon him in 1979. Norbert Blei
“Europeans and Westerners always find mystery in obscurity, in the night, while we Greeks find it in light, which is for us an absolute. To illustrate this I give three images. I tell how once, at high noon, I saw a lizard climb upon a stone (it was unafraid since I stood stock-still, ceasing even to breathe) and then, in broad daylight, commence a veritable dance, with a multitude of tiny movements, in honor of light. There and then I deeply sensed the mystery of light. At another time I experienced this mystery while at sea between the islands of Naxos and Paros. Suddenly in the distance I saw dolphins that approached and passed us, leaping above the water to the height of our deck. The final image is that of a young woman on whose naked breast a butterfly descended one day at noon while cicadas filled the air with their noise. This was for me another revelation of the mystery of light. It is a mystery which I think we Greeks can fully grasp and present. It may be something unique to this place. Perhaps it can be best understood here, and poetry can reveal it to the entire world.” –Odysseus Elytis
Calendar of an Invisible April by Odysseas Elytis
Translation from Greek: Marios Dikaiakos
“The wind was whistling continuously, it was
getting darker, and that distant voice was
incessantly reaching my ears : “an entire life”…
“an entire life”…
On the opposite wall, the shadows of the
trees were playing cinema”
“It seems that somewhere people are celebrating;
although there are no houses or human beings
I can listen to guitars and other laughters which
are not nearby
Maybe far away, within the ashes of heavens
Andromeda, the Bear, or the Virgin…
I wonder; is loneliness the same, all over the
worlds ? ”
“Almond-shaped, elongated eyes, lips; perfumes stemming
from a premature sky of great feminine delicacy
and fatal drunkeness.
I leant on my side -almost fell- onto the
hymns to the Virgin and the cold of spacious
gardens.
Prepared for the worst.”
“FRIDAY, 10c
LATE MIDNIGHT my room is moving in the
neighborhood shining like an emerald.
Someone searches it, but truth eludes him
constantly. How to imagine that it is
placed lower
Much lower
That death too, has its own Red sea.”
Odysseas Elytis (Greek: Οδυσσέας Ελύτης) (November 2, 1911—March 18, 1996) is a legendary Greek poet,regarded as one of the most important representatives of romantic modernism in Greece and the world. In 1979 he was awarded the Nobel Prize in Literature.
Descendant of the Alepoudhelis, an old industrial family from Lesbos, he was born in Heraklion (Candia) on the island of Crete, 2 November 1911. His family was later relocated to Athens permanently, where the poet completed his high school studies and later attended courses as an auditor at the Law School at Athens University. In 1935, Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.Elytis chose exile in Paris for a greater part Greece’s military dictatorship in 1967.He fled to Paris in the late sixties and was romantically linked to the lyricist and musicologist Mariannina Kriezi. Elytis was vehemently private and purposely solitary in pursuing his ideal of poetic truth and the poetic experience.
In 1937 he served his military requirements. Being selected as an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters to later be transferred at the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world. He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
He has twice been Programme Director of the Greek National Radio Foundation (1945-46 and 1953-54), Member of the Greek National Theatre’s Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist’s Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at the Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world’s avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Chagall, Giacometti) as Tériade’s most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre,Francoise Gilot, Rene Daumal…) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled “Orientations”. Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome. In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Odysseas Elytis had been completing plans to travel overseas when he died in Athens at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who was bestowed the writ of condolence from the mayor of Athens on behalf of the nation at the funeral.
Elytis’ poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarified and passionate. He did derive certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today’s Hellenism, of which he attempted —in a certain way based on psychical and sentimental aspects— to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people’s conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a “worshiper” -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work Worthy It Is (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis’ theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as creating a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Poetry
* Orientations (Προσανατολισμοί, 1939)
* Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
* An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
* To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
* Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
* The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
* The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
* The Trills Of Love (Τα Ρω του Έρωτα, 1973)
* The Monogram (Το Μονόγραμμα, 1972)
* Step-Poems (Τα Ετεροθαλή, 1974)
* Signalbook (Σηματολόγιον, 1977)
* Maria Nefeli (Μαρία Νεφέλη, 1978)
* Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
* Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
* Krinagoras (Κριναγόρας, 1987)
* The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
* The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
* West of Sadness (Δυτικά της λύπης, 1995)
Prose, essays
* The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
* 2×7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
* (Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
* The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
* The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
* Reference to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
* The Public ones and the Private ones (Τα Δημόσια και τα Ιδιωτικά, 1990)
* Private Way (Ιδιωτική Οδός, 1990)
* «Εν λευκώ» (συλλογή κειμένων), (1992)
* The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Translations
* Second Writing (Δεύτερη γραφή, 1976)
* Sappho (Σαπφώ)
* The Apocalypse (by John) (Η αποκάλυψη, 1985)
Reference works
* Mario Vitti: Odysseus Elytis. Literature 1935-1971 (Icaros 1977)
* Tasos Lignadis: Elytis’ Axion Esti (1972)
* Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
* Odysseas Elytis: Anthologies of Light. Ed. I. Ivask (1981)
* A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis’ Variations on a theme (1982)
* E. Keeley: Elytis and the Greek Tradition (1983)
* Ph. Sherrard: Odysseus Elytis and the Discovery of Greece, in Journal of Modern Greek Studies, 1(2), 1983
* K. Malkoff: Eliot and Elytis: Poet of Time, Poet of Space, in Comparative Literature, 36(3), 1984
* A. Decavalles: Odysseus Elytis in the 1980s, in World Literature Today, 62(l), 1988
Translations of Elytis’ work
|
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https://greekherald.com.au/culture/remembering-odysseus-elytis-the-nobel-prize-winning-poet/
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Remembering Odysseus Elytis, the Nobel Prize-winning poet
|
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"Andriana Simos"
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2020-03-19T00:19:28+00:00
|
Yesterday marked 24 years since the death of Odysseus Elytis, the "poet of light" who's words and lyrics made our world look and feel a little more magical.
|
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The Greek Herald
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https://greekherald.com.au/culture/remembering-odysseus-elytis-the-nobel-prize-winning-poet/
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Yesterday marked 24 years since the death of Odysseus Elytis, the “poet of light” who’s words and lyrics made our world look and feel a little more magical. To honour his memory, let’s take a look back at his rich history.
Odysseus Elytis and his childhood:
Born Odysseus Alepoudelis on November 2, 1911, in Heraklion on the island of Crete, he changed his surname to Elytis to avoid any association with his wealthy family of soap manufacturers.
Why ‘Elytis’ you may ask? According to Frank J. Prial of the New York Times, the name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpida, the word for hope; eleftheria, the word for freedom; and Eleni, the name of a figure from Greek mythology who personifies beauty and sensuality.” Basically reflecting all the things Elytis most treasured (something which will come out later in his poems).
At the age of 3, Elytis and his family relocated to Athens, a move which would see him come into contact with other well-known poets, such as Seferis and Theotakis, in his later years.
Interestingly, while his family pushed him into studying chemistry, in 1930 he decided to enrol in Law School at the University of Athens instead. Something completely unrelated to his work in the arts.
Poetry Collections:
Elytis’ poetry collections include What I Love: Selected Poems of Odysseus Elytis (translated by Olga Broumas in 1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To axion esti is one of his most well-known poems. It is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy, and Elytis cleverly depicts the Greek reality through an immensely personal tone.
After the poem’s release, it was described by many as “a kind of spiritual autobiography that attempts to dramatise the national and philosophical extensions of the poet’s personal sensibility.” Elytis, always the humble poet, disagreed with such descriptions of his work saying,
“I have always been preoccupied with finding the analogies between nature and language in the realm of imagination… Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
The Nobel Prize in Literature, 1979:
In 1979, Elytis was awarded the Nobel Prize in Literature “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness.”
To be recognised for having a part in Greece’s 25-century-old literary tradition was a matter of huge pride to Elytis. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country:
“I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
To the present day, he’s the second and last Greek poet honoured with the award.
Death:
Elytis had been completing plans to travel overseas when he died of a heart attack in Athens on 18 March 1996, at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who received a writ of condolence from the Mayor of Athens on behalf of the nation at the funeral.
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FactBench
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0
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https://books.google.com/books/about/The_Collected_Poems_of_Odysseus_Elytis.html%3Fid%3DnzPSXYJIYjAC
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en
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Google Books
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https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
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correct_award_00067
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FactBench
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3
| 29
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http://almaz.com/nobel/literature/1979a.html
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en
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Odysseus Elytis Winner of the 1979 Nobel Prize in Literature
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Odysseus Elytis, a Nobel Prize Laureate in Literature, at the Nobel Prize Internet Archive.
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correct_award_00067
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FactBench
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0
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https://www.nobelprize.org/prizes/literature/1979/summary/
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en
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The Nobel Prize in Literature 1979
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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en
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/summary/
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
To cite this section
MLA style: The Nobel Prize in Literature 1979. NobelPrize.org. Nobel Prize Outreach AB 2024. Mon. 22 Jul 2024. <https://www.nobelprize.org/prizes/literature/1979/summary/>
Back to top Back To Top Takes users back to the top of the page
Nobel Prizes and laureates
Eleven laureates were awarded a Nobel Prize in 2023, for achievements that have conferred the greatest benefit to humankind. Their work and discoveries range from effective mRNA vaccines and attosecond physics to fighting against the oppression of women.
See them all presented here.
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correct_award_00067
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FactBench
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0
| 93
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https://www.poetrybooks.co.uk/products/the-axion-esti-by-odysseus-elytis
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en
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The Axion Esti by Odysseus Elytis
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2019-04-03T13:40:17+01:00
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When Odysseus Elytis was awarded the Nobel Prize for Literature, the Swedish Academy’s citation singled out The Axion Esti, first published in 1959, as ‘one of twentieth-century literature’s most concentrated and richly faceted poems.’ It can be seen both as a secular oratorio, reflecting the Greek heritage and the cou
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en
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The Poetry Book Society
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https://www.poetrybooks.co.uk/products/the-axion-esti-by-odysseus-elytis
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Use this popup to embed a mailing list sign up form. Alternatively use it as a simple call to action with a link to a product or a page.
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correct_award_00067
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FactBench
|
2
| 65
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https://www.slideshare.net/slideshow/world-famous-contemporary-greeks/71011583
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en
|
World famous contemporary greeks
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2017-01-14T11:52:53+00:00
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World famous contemporary greeks - Download as a PDF or view online for free
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en
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https://public.slidesharecdn.com/_next/static/media/favicon.7bc3d920.ico
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SlideShare
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https://www.slideshare.net/slideshow/world-famous-contemporary-greeks/71011583
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2. George Papanicolaou George Seferis Odysseas Elytis Domenikos Theotokopoulos (El Greco) Nikolaos Gyzis Maria Kallas Manos Hadjidakis CONTENTS
3. This is a true genius. The Greek physician- researcher became established as the founder of a new medical specialty, exfoliative cytology, and went down in history as one of the leading researchers in medical science. In the mid 20th century he discovered the famous Pap test and saved the lives of thousands of women.
4. In 1917 he studied vaginal smears of animals and then went on to study the same in humans. His research established the groundwork for early diagnosis of cancer.
5. He was one of the most important Greek poets of the 20th century. His poetry was influenced by the Asian Minor disaster. He appeared in Greek literature in 1931 with the poetry collection “Strofi”. In 1963 he was awarded the Nobel Prize in Literature
6. Considered to be one of the greatest modern Greek poets, whose rich imagination renewed Greek poetry. He wrote assimilating the most essential elements of surrealism. 1979 was awarded the Nobel Prize in Literature.
7. He was one of the great Renaissance painters. He lived and worked in Spain most of his life, hence the nickname El Greco (The Greek). Since the beginning of the 20th century his work has begun to be recognized and he is now considered one of the all time leading artists who influenced modern art painters.
8. Some of his greatest paintings include the "Assumption of the Virgin", "The Trinity," "The Resurrection of Christ", "The Christ" martyrdom, "Espolio" (scene from the Passion of Christ), "The Laocoon" and " Pentecost".
9. Nicholas Gysis is one of the most important representatives of the academic realism of the late 19th century, both in Greek and at a European level. He participated and won many Greek and European competitions, from 1870 to 1900. After his death in 1901 he was honored with an exhibition of the 8th International Art Exhibition of Gklaspalast
10. Greek soprano, the absolute diva in the field of opera. With her unique vocals and theatrical talent she renewed opera and its repertoire.
12. Her first success was with “Gioconta" of Amilkare Ponkieli. Her career was launched when she sang at "Scala" in Milan and the Metropolitan Opera House. Her swan song was Norma, staged in Paris in 1965.
13. The greatest musical genius of Greece. His first appearance in the Greek music world was in 1944 with the "Last White crow‘ by Alexis Solomos at Karolos Koun Art Theatre. A major chapter of his works is the music composed for key films of Greek and international cinema.
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FactBench
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1
| 67
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https://theweek.com/articles/870077/favorite-author-isnt-going-win-nobel-prize
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en
|
Your favorite author isn't going to win the Nobel Prize
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2019-10-08T09:50:00+00:00
|
Sorry, Murakami fans
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en
|
theweek
|
https://theweek.com/articles/870077/favorite-author-isnt-going-win-nobel-prize
|
Welcome to Nobel Week, better known around these parts as an annual exercise in the futility of predicting which obscure author and/or rock legend is going to win the world's highest literary prize. Only one thing is for certain: It actually won't be Philip Roth this time.
On Thursday, in a historic first, the Swedish Academy will announce two literature laureates: one for 2019, as well as the deferred 2018 winner. The prize was put off last year after an impossible-to-summarize scandal that involved, in part, sexual assault allegations against a Swedish cultural heavyweight whose wife was a member of the Nobel's selection committee.
Returning from a controversy "so serious that a prize decision [would not have been] perceived as credible" — in the dramatic words of Nobel Foundation chairman Carl-Henrik Heldin — the Swedish Academy will be aiming to reassert itself this week as the ultimate authority in determining "the most outstanding work in an ideal direction," whatever that means. There is no public short list for the award, though, so basically any living writer could qualify, regardless of if they write short stories, poems, novels, translations, screenplays, memoirs, speeches, or, controversially, songs.
Still, for many literary critics, the whole Nobel exercise is something of a "charade." The great Nobel snubs are almost a more impressive list than its laureates: Mark Twain, Joseph Conrad, James Joyce, Franz Kafka, Leo Tolstoy, Jorge Luis Borges, Anton Chekhov, Marcel Proust, poor Philip Roth, and Vladimir Nabokov, for God's sake, are among those who never had the honor of accepting (or declining) the award. A litany of the laureates, on the other hand, often reads like a list of missed trivia answers: Naguib Mahfouz, Imre Kertesz, Odysseas Elytis, Heinrich Böll?
That, of course, is a damningly American thing to say, and part of why I love the Nobel is its scope; how would I ever have learned that I dislike Mo Yan without seeking out his work after he won in 2012? Still, despite the Swedish Academy's reputation for rewarding "Someone You've Never Heard of From a Country You've Never Visited," literature's top honor has a glaring and much-commented-upon diversity problem. Of 114 literature laureates to date, just 14 have been women. Former Nobel judge Peter Englund admitted in 2015 that the prize needed to resist becoming "too Eurocentric" and that the Academy needed to counteract the "drift towards ... men having it easier to relate to literature written by men" — although after his comments, the prize subsequently went to Svetlana Alexievich (Russian) and two more men, Bob Dylan (American) and Kazuo Ishiguro (British), both of whom write in English. Not exactly a radical improvement.
Anders Olsson, the new chair of the Nobel literature committee, has also made overtures about diversity, although he's been more clear: "Now we have so many female writers who are really great, so we hope the prize and the whole process of the prize has been intensified and is much broader in its scope," he told The Guardian this year. As it would look particularly bad if the committee handed out both awards to men, there's almost a certainty that at least one of the prizes will go to a woman writer, and the hope, also, that at least one laureate will come from outside North America and Europe.
Now this is normally the place in a Nobel literature article where I would turn to the bookies, except that bookies are completely useless and have no idea what they're talking about. Still, as if to illustrate that everything is meaningless and nothing matters, The Atlantic noted in 2013 that betting speculation actually serves as a kind of feedback loop, potentially influencing Swedish judges, so that authors who are continually floated by bookies (Joyce Carol Oates, Ngugi wa Thiong'o, Adonis) actually become real contenders. Alexievich and Canadian short-story queen Alice Munro were both bookie favorites before they were named laureates, so if you want to rely on odds alone, I'm not going to stop you.
Of course, then, the natural next question is: Who are their favorites? Bookies have put poet, essayist, and translator Anne Carson at the top with 4/1 odds, and while I love her work, I'm not so sure — after two English-language honorees in back-to-back years (Ishiguro and Dylan), and fellow Canadian Munro named in 2013, I think Carson almost certainly won't be the 2018 laureate and very likely won't be the 2019 laureate either (this is my same rationale for counting out Margaret Atwood, despite her being back in the news this year for her topical Handmaid's Tale follow-up). That being said, in Carson's favor is the fact that there's been a recent poetry drought at the Nobels, the last being Sweden's Tomas Tranströmer in 2011. Still, for an author working in English, I'd be happier putting my money on the phenomenal Antiguan-American novelist and essayist Jamaica Kincaid.
Otherwise, look for women writers who are not working in English, such as Maryse Condé (odds: 5/1). In her favor is the fact that the 82-year-old Guadeloupean author already won the "alternative" Nobel, the New Academy Prize in Literature, which is also Swedish and required beating out British author Neil Gaiman, Vietnamese-Canadian novelist Kim Thúy, and Japanese novelist and essayist Haruki Murakami. Russian novelist and short story writer Lyudmila Ulitskaya is another name floating around in the rumor mill, having won a boatload of prestigious awards herself, while Can Xue, a Chinese literary critic and avant-garde writer, might also be a safe choice.
Of all the women potentially up for the award, though, I feel best about Polish author Olga Tokarczuk (a relatively young-by-Nobel-standards 57), who won the prestigious Man Booker International Prize in 2018 and whose work has branded her by some in her country a "traitor." As explains The New York Times' Parul Sehgal, "if the (notoriously unpredictable) Academy has a preference, it seems to be for authors whose work can be read as an allegory for the larger story of their nation or culture," and Tokarczuk certainly satisfies the political impulse of the award.
Then there are the usual male mainstays. Murakami is a perennial favorite, but maybe only because he's one of the few foreign-language authors that Americans actually read. "Murakami's standing as the Nobel Prize's perpetual bridesmaid is based entirely on his status as the world's most popular novelist," wrote Nobel Literature Prize savant Alex Shephard in 2017, adding "this isn't a popularity contest." But if it's any consolation to Murakami diehards, Shephard is basically best known for predicting Bob Dylan would "100 percent" not win in 2016, and, well.
Neil Gaiman, bafflingly, is also getting tossed around as a potential Nobel Prize winner, although to that I say: not a chance. Norwegian novelist and playwright Jon Fosse is another name you hear a lot when you read about the Nobels, as is the magnificent Hungarian writer László Krasznahorkai, although both don't do wonders to right either the "male" or "Eurocentric" inclinations of the prize. Kenya's Ngugi Wa Thiong'o is so frequently a Nobel favorite that I can't take rumors of his win seriously anymore (see also: Adonis), although he has very vocal champions and, seeing the way the Nobel doubles back on itself, this could very well be his year.
While it's unlikely the committee will do something as flashy as name another nonconventional writer a winner (despite the satisfying ring of Nobel Laureate Patti Smith), a potential dark dark horse could be someone like the text-based visual artist Jenny Holzer, or a person who writes predominantly for the screen, like Steven Spielberg, Jean-Luc Godard, or Pedro Almodóvar.
The sheer unpredictability of the Nobel Literature Prize has made a fool out of more than one prognosticator though — that's half the fun. Come Thursday morning, you never know if you're going to wake up with a gasp of "who?!" or "her?!" This year, with double the chance to be proven humiliatingly wrong, it would be ridiculous to speak with any sort of authority on the matter — even if I'm sure Murakami isn't going to win.
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correct_award_00067
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FactBench
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1
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https://news.gtp.gr/2023/05/15/odysseus-elytis-museum-in-athens-almost-complete/
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en
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Odysseus Elytis Museum in Athens Almost Complete
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2023-05-15T00:00:00
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The Odysseus Elytis Museum, a new cultural space that will honor the Nobel Prize-winning Greek poet, is expected to become a major attraction for visitors in Athens.
|
en
|
GTP Headlines
|
https://news.gtp.gr/2023/05/15/odysseus-elytis-museum-in-athens-almost-complete/
|
A new cultural landmark in Athens, dedicated to the life and work of the Nobel Prize-winning Greek poet Odysseus Elytis, is nearing completion.
Set to become a major attraction for visitors to the Greek capital, the Odysseus Elytis Museum will be run by non-profit NGO Aerton, the organization that owns the Odysseas Elytis archive.
The museum’s creation recently became official following the signing of a Memorandum of Cooperation (MoC) between Culture Minister Lina Mendoni and NGO Aerton President Ioulita Iliopoulou.
Under the MoC, the Culture Ministry will grant Aerton the use of the building located at the junction of Dioskourwn and Polygnwtou streets in the Athenian quarter of Plaka, as well as the two adjacent auxiliary buildings, upon completion of restoration works which are expected to be finished this summer.
The ministry will also subsidize the museum’s operation and provide specialized expertise and support to the site, which will be managed by Aerton. The restoration works began in December 2020.
Odysseus Elytis Museum
The new museum will feature a permanent exhibition space that will include photographs, texts, audio, and visual material, offering visitors a glimpse into the poet’s life and work.
In particular, there will be an accurate reconstruction of Elytis’ office, his workplace, personal objects, and valuable archival and exhibition material curated by Iliopoulou, familiarizing guests with the poet’s aesthetics, life, and conception of art. The museum will also house the Elytis Archive and other items related to his work.
Culture Minister Lina Mendoni said that the new museum, besides showcasing the poet’s life and work, “will also highlight Athenian urban architecture and demonstrate the historical continuity of the capital”.
She also noted that the museum is expected to become a major point of interest for visitors interested in the poet’s “great contribution to contemporary Greek culture”.
Odysseas Elytis, a prominent Greek poet and member of the 1930s literary generation, received the State Poetry Prize in 1960 and the Nobel Prize for Literature in 1979, making him the second and last Greek to receive the award.
Elytis is known for his innovative poetic style, with notable works such as Axion Esti and Orientations. He also translated poetic and theatrical works and was a member of various international art and literary organizations.
Follow to keep up to date with all the latest on tourism and travel in Greece.
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correct_award_00067
|
FactBench
|
3
| 87
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https://visitchania.gr/en/important-figures/odysseas-elytis/
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en
|
Odysseas Elytis
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2019-04-03T10:23:06+00:00
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Elytis: One of the most important Greek artists. The poet of light, who bequeathed Greek literature with an incredible cultural heritage.
|
en
|
Visit Chania
|
https://visitchania.gr/en/important-figures/odysseas-elytis/
|
His real name was Odysseus Alepoudelis. He was born on 2 November 1911 in Heraklion, Crete. He was one of the most important Greek poets, a member of the literary generation of the ’30s. He was the second Greek poet, who was awarded the Nobel Award. Many of his works have been successful, while his collections have been translated into many foreign languages. Known from his works are It is Truly Meet(Αξιον Εστί), Sun the first and Monogram.
He was a member of the International Art Critics Association and the European Critical Society, a representative at Rencontres Internationales in Geneva and Incontro Romano della Cultura in Rome. In 1930 he attended at the Law School of Athens and participated in the Ideocratic Philosophical Group of the University, representing the students, participating in the “Saturday Symposia”.
The New Grammata magazine, composed of old and newer poets, brought to Greece the contemporary Western artistic tendencies and met the younger poets in their readership. While Elytis wondered if his work had to be published, some of his colleagues and loyal friends took the initiative to publish it in the magazine with the nickname Odysseas Vranas. Later he decided to publish his works as Odysseus Elytis.
Odysseas Elytis participated in the 1940s war, ranked as a lieutenant in the Command of the Headquarters. During the occupation, he continued his work, influenced by the situations of the war. He could not be described as a political poet. He rarely mentioned his political beliefs in his works. The main themes of his poems were love for Hellenism and Orthodox tradition. The main features of Elytis poetry are the wealth of language, its invasive perception of the world, the multitude of words and their significance.
In 1948 he moved to Switzerland, where he attended courses of philosophy at the Sorbonne. In 1952 he returned to Greece and became a member of the “Group of Twelve”, who each year awarded awards for literature. In 1953 he again took over the Directorate of the Hellenic Broadcasting Corporation (EIR) and at the end of the same year, he became a member of the European Cultural Society in Venice and a member of the Board of Directors of Karolos Koun Theater. In 1961 he first collaborated with Mikis Theodorakis and in 1964 Theodorakis set the music of It is Truly Meet. In 1978 he was awarded an honorary doctorate at the Philosophical School of the Aristotle University and in 1979 he was awarded the Nobel Prize.
Subsequently, they received honorary distinctions outside and within Greece, such as the founding of greek studies in the Rutgers University of New Jersey, and his appointment as an honorary lecturer at the University of Sorbonne.
He died on 18 March 1966 from a heart attack in Athens.
One of his insights: ” We want or not, we all are captives of happiness, that we deprived it of our own mistakes”
|
|||||
correct_award_00067
|
FactBench
|
1
| 26
|
https://www.greeknewsagenda.gr/greek-writers-nominated-nobel-prize-literature/
|
en
|
A look back at Greek writers nominated for the Nobel Prize in Literature
|
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2024-04-11T11:21:01+00:00
|
The Nobel Prize in Literature is a Swedish literature prize that is awarded annually, since 1901, to an author from any country who has, in the words of the will of Swedish industrialist Alfred Nobel, “in the field of literature, produced the most outstanding work in an idealistic direction.” The Nobel Prize in Literature has […]
|
en
|
Greek News Agenda
|
https://www.greeknewsagenda.gr/greek-writers-nominated-nobel-prize-literature/
|
The Nobel Prize in Literature is a Swedish literature prize that is awarded annually, since 1901, to an author from any country who has, in the words of the will of Swedish industrialist Alfred Nobel, “in the field of literature, produced the most outstanding work in an idealistic direction.” The Nobel Prize in Literature has been awarded 116 times to 120 Nobel Prize laureates between 1901 and 2023.
It has been a little more than 60 years since in December 1963, Greek poet and diplomat Giorgos Seferis was awarded the Nobel Prize for Literature “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”. In his acceptance speech the Greek poet and diplomat chose to emphasize his humanist philosophy, concluding: “When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: ‘Man’. That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus.” This anniversary is a great opportunity for us to look back at the Greek writers who were nominated the Nobel Prize in Literature, beyond the well known laureates Giorgos Seferis and Odysseas Elytis.
Nominees
One-Time Nominees
Giorgos Theotokas, novelist, essayist, lawyer and one of the most prominent figures of the Generation of the ’30s, whose major essay entitled Free Spirit , became the manifesto of that generation” exemplifying a desire to modernize Greek literature, was nominated for the 1945 Nobel in Literature.
Georgios Drosinis, author, poet, scholar, editor and considered to be a co-founder of the New Athenian School, that is the Greek literary Generation of the 1880s, was nominated for the Nobel Prize in Literature in 1947. Also nominated one time of the Nobel Prize the same year was Gregorios Xenopoulos, a novelist, journalist and playwright from the island of Zakynthos.
Melpo Axioti, the only woman on this list, was a prose and poetry writer, member of the Greek WWII Resistance and a political exile. Her first novel “Difficult Nights” (1938) introduced a modernistic style to Greek literature and she has nominated of the Nobel Prize in 1956.
Multiple Nominations
Playwright, polymath, writer and Professor of History Demetrios Bernardakis, whose most known work is “Fausta,” was nominated twice, in 1904 and 1905.
Georgios Souris, satirical poet and journalist, was considered to be one the greatest satirical poets of modern Greece and characterized by many as a “modern Aristophanes.” He had been nominated for the award a total five times, almost every year from 1907 to 1912.
Elias Venezis is a writer whose major novels are about his life in Asia Minor; Land of Aeolia (1943) describes the lost Eden of his childhood summers, and Number 31328 (1924) the horrific experience of the death marches. He was nominated twice, in 1960 and 1963.
Stratis Myrivilis, also from Asia Minor and another important figure of the “Generation of the 30s” was nominated for the Nobel Prize in Literature three times (1960, 1962, 1963). His landmark novel Life in the Tomb (1924) is the most celebrated Greek work on the subject of the First World War.
Kostis Palamas, considered by many to be Greece’s national poet, wrote the words to the Olympic Hymn and was a key figure of the generation of the 1880s known as “the New Athenian School.” He was nominated an impressive total of fourteen times for the Nobel Prize, almost every single year from 1926 until 1940.
Angelos Sikelianos, a lyric poet and playwright, whose themes include Greek history, religious symbolism as well as universal harmony in poems, is considered one of the leading 20th-century Greek lyrical poets. In 1927, in collaboration with his wife, Eva Palmer-Sikelianos, he held the Delphic Festival as part of his general effort towards a revival of the ‘Delphic Idea’. He has been nominated nominated six times for a Nobel Prize in Literature, every year from 1946 until 1951.
Nikos Kazantzakis is one of Greece’s most internationally acclaimed novelists; he was also a journalist, a politician, a poet and a philosopher. Kazantzakis’s novels include Zorba the Greek (1946), Christ Recrucified (1948), Captain Michalis (1950, translated Freedom or Death), and The Last Temptation of Christ (1955). He also wrote plays, travel books, memoirs, and philosophical essays, such as “The Saviors of God: Spiritual Exercises”. His fame spread in the English-speaking world due to cinematic adaptations of Zorba the Greek (1964) and The Last Temptation of Christ (1988). He remains the most translated modern Greek author worldwide and he was nominated nine times for the Nobel prize (in 1947, and every year from 1950 to 1957).
Yiannis Ritsos is considered to considered one of the great Greek poets of the twentieth century; “Yannis Ritsos,” wrote Peter Levi in the Times Literary Supplement of the late Greek poet, “is the old-fashioned kind of great poet. His output has been enormous, his life heroic and eventful, his voice is an embodiment of national courage, his mind is tirelessly active.” Plagued by turberculosis, family misfortunes, and repeated persecution for his Communist views, he spent many years in sanatoriums, prisons, or in political exile, while producing more than 100 poetry collections, 9 novels, and 4 theatrical plays. Epitaphios (1936), Romiosini (1945-47) and Moonlight Sonata (1966) are three of his best-known works. He was twice nominated for a Nobel Prize, in 1971 and 1979, when it is said the Academy suggested that he and Odysseas Elytis share the prize, but they both declined the offer.
Nobel Laureates
Odysseas Elytis was a Greek poet, man of letters, essayist and translator, regarded as the definitive exponent of romantic modernism in Greece and the world; his work has been translated in 29 languages. He is one of the most praised poets of the second half of the twentieth century, with his Axion Esti (Worthy As It Is) regarded as a monument of contemporary poetry. In 1979, he was awarded the Nobel Prize in Literature. The Swedish Academy declared in its presentation that Elytis’ poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness. . . . [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Giorgos Seferis was a poet, esseyist and diplomat, considered one of the most important Greek poets of the 20th century, and a Nobel laureate. He was the first Greek to win the Nobel Prize in Literature in 1963, “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture.” He had been nominated for the Nobel twice (in 1955 and 1961). Often compared during his lifetime to T.S. Eliot, whose work he translated and introduced to Greece, George Seferis is noted for his spare, laconic, dense and allusive verse in the Modernist idiom of the first half of the 20th century. At once intensely Greek and a cosmopolitan of his time (he was a career-diplomat as well as a poet), Seferis better than any other writer expresses the dilemma experienced by his countrymen then and now: how to be at once Greek and modern. His established poetry begins with the collection “Novel” (1935), which consists of 24 poems “Sterna”, “Exercise Notebook”, the “Deck Diary” (A ‘, B’ and C ‘) and “Kichli” are just some of the most important works of the great poet.
I.L.
|
|||||
correct_award_00067
|
FactBench
|
0
| 85
|
https://theygirl.home.blog/
|
en
|
theygirl
|
[
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[
"TheY Girl"
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2018-11-10T03:07:17+00:00
|
en
|
https://s1.wp.com/i/favicon.ico
|
theygirl
|
https://theygirl.home.blog/
|
I recently came across a song called “Fever” by The Tragic Thrills and instantly loved its first few lines because it reminded me of my favourite TV character: Carrie Bradshaw. Carrie, although just a fictional character has influenced and inspired me to start writing and most of all, follow my dreams.
That is until the third line where Carrie’s figure in my mind was suddenly replaced by mine. Carrie never for once doubted that she isn’t going to succeed in what she loves, she never for once thought that she wouldn’t become a writer, an artist. Yet I have.
This song not only revealed my doubts but also helped me realize that I should stop doubting myself, my potential and finally believe in my “fever”, in my passion for writing and in myself. I’ve finally found a goal that I want to achieve with all my heart. I know that I will have to work hard for it, but that is what I love about it. I will have to work hard for something I love and when you love something the journey toward achieving it is the sweetest part. I have the potential to make it and I might as well use it.
“Sweet, sweet girl dreamed someday she’ll be a writer
Swore she’d never give up on her sole desire
But leaps of faith turned to shot in the darkness
Until she told herself that she’ll never be an artist”
https://open.spotify.com/embed?uri=spotify%3Atrack%3A38wPKgEMUxuBicuvsN9o9c
This song has also inspired me to write the following:
“I want someone to believe in me. To believe in my fever. Someone to be there for me and support even the silliest idea of mine. Someone who will trigger my creativity and let me be myself. Someone who will be proud of me and what I do.
I want a lover.
Not just a lover, but a friend.
A friend who will be there to cheer me up when my ideas fail. Someone who will boost my confidence and believe I have potential. Someone who will love me no matter what. Someone who has dreams of themselves and who will let me be part of them. Someone with whom I can share my thoughts without feeling uncomfortable and scared of what they would think.
I want someone who gets me.”
Yet believe me that the first person that should believe in you, should be YOU.
Don’t push yourself too hard. Set your limits. A limitless mind is an insane person’s mind, the mother of anxiety itself. Yes, you want to be a lot of things, yes sometimes you have to push yourself to achieve everything you crave- but to its LIMITS. Set goals, construct a hierarchy of priorities. A small set at a time. Do not allow yourself to get lost in incumbencies that you have created for yourself. Enjoy your every day, every minute, every second. Your demons are your enemies and you are the only one who can control them. Hence, your only enemy is merely YOURSELF.
Stand up, make a plan- not a life plan-, a day plan. Stop worrying about tomorrow and take a look at TODAY. What makes you feel happy? Do that. Is it hanging out with or talking to your friends? Is it watching a movie? Is it studying a book you never seem to find time to finish? Is it studying because it is what you love and what is going to secure your future? That last one, do it with love, passion, devotion, and peacefulness. Stop thinking about deadlines and start enjoying what you are doing and believe me that when you do that it is going to feel right because it will be right. Stop saying “what if I don’t” and start saying “what if I do”. Think and dream positive. Do not fly on cloud 9 but get cloud 9 down here with you and help it lift you up.
Stop comparing yourself to others, yet look at their success and be inspired. There are no antagonists in life. Your true antagonist is yourself. Stop fighting it and start enriching and embracing it. I know that it is easier said than done and I myself, I admit that I have reached that stage but not in its full potential, yet those moments I did, those seconds, were the best of my entire 19 years. I repeatedly drag cloud 9 close to me, I help it lift me up to some point and then fall again, and then again I drag it down and fall again and again and again, but I will never stop until I find a way which will make every time I fall better and easier to get up. The more times you fall the better you learn how to stand up, lift yourself up and each time quicker than ever. That “quickness” is what we should all be aiming at and the only way to achieve it is through falling and failing again and again.
Dedicated to all those who are feeling lost right now. We’re in the same shoes. And I hope that by reading this you will find the strength and motives to get up again as I did by writing it.
A quote from “Paradise Lost”, by John Milton, I came across yesterday and which inspired me and helped me feel the ground under feet again.
“The mind is its own place, and in itself
Can make a Heaven of Hell, a Hell of heaven”
Thanks to @orionvanessa ( on Instagram ) I came across it and allow me to quote what she wrote in her description of this particular extract by John Milton: “…A reminder that we create the demons within us and that we are in control. As humans do, we overthink and turn our inner musings into a hell of its own. A Milton reminder that you are not alone.”
I hope that everyone reading this will relate it to their own particular state and use it as a map to get back on their own unique path leading to their aspirations.
Unapologetically herself,
TheYGirl
To choose a career path in your life is probably one of the biggest decisions you will ever have to make, and one that will unquestionably determine your future. From a very young age, we are asked by friends and family in our close environment “what is it that we want to become when we grow up”, and the most determined of us may answer with something like “I want to become a teacher, pilot, doctor, astronaut or maybe a psychiatrist” and some of us have absolutely no clue.
Almost three years ago (cannot believe how fast time flew by) I had to make the most crucial decision of my entire nineteen years of life; choose what I want to study, or in other words “what and mostly who I want to be”. When I was little I wanted to become so many things when I would grow up. At some point, I wanted to become a detective. At another point, an archeologist and much more. Yet one particular career would never leave my mind; that of a psychologist. I’ve always been concerned with the way people think, act and react and the science of it. So in my last year two years of High School, I had set my goal; become a psychologist. It was something new to me that held much mystery which as it turned out blinded me and so I could not see what was right in front of me; English.
I’ve always loved English and always had dreams of going to the US and having my own New York apartment, a job and be part of two cultures; Greek and American. That was and still is my priority goal in life and that is why the very last minute I had to choose the subject of my studies I changed my mind. I closed my eyes and fantasized myself as a psychologist which gave me a “gray” kind of vibe; yet when I fantasized myself studying English I saw the most vibrant rainbow I had ever seen in my life. Sounds cheesy, I know. That, of course, does not mean that my love for Psychology has faded; not at all – it just seemed that English could open more doors for me, through which I could finally find my way towards my goals.
So, here I am now, studying English and being offered subjects in Psychology as well, not having regretted a single second of the moment I changed my mind and chose what suits me better; English and its many opportunities to combine whatever I love doing.
I could never and still aren’t able to wrap my head around the idea that you have to choose a job and stick to it. To me occupying yourself with just one thing is not enough; it has to transform things I am passionate about into a perfectly put together collage.
Learning English in depth has helped me come to the realization of how much I appreciate the beauty of literature and the mystery and complexity of linguistics, which I want to pursue, and has also let me in the English and American culture which I so much devour. It has given me more than I had ever imagined and I hope that one day I will give back to it.
Unapologetically herself,
TheYGirl
I met my first love a few years ago and not a long time ago we broke up for the third time. Since then various thoughts have been whirling around my head. I don’t think that I can be attracted to anyone at the moment and it seems like until I find someone else I will still feel kind of attached, not really to him, but to his ideal self in our ideal relationship, which is something that has got me contemplating.
In the end, is it true what they say about break-ups?
That after getting back from the second break-up with someone more are going to follow? Could there possibly be a third or even fourth chance to get together with someone again?
And is it true what they say about lovers?
Do we only meet two big loves in our lives?
And do we eventually end up with our first love?
I certainly would not want that.
I am anticipating that second love with whom I wish a second or third chance won’t be necessary.
Unapologetically herself,
TheYGirl
|
|||||
correct_award_00067
|
FactBench
|
1
| 51
|
https://www.freiheit.org/spain-italy-portugal-and-mediterranean-dialogue/cultured-colour-mediterranean-and-its-35-nobel
|
en
|
Literature The "cultured colour" of the Mediterranean and its 35 Nobel Laureates in Literature
|
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[
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[
"Markus Kaiser",
"Joaquín Pérez Azaústre",
"freiheit.org"
] |
2024-05-21T00:00:00
|
The shores of the Mediterranean Sea proudly bathe 20.5% (8 nations) of the total number of countries (39) with Nobel Prize-winning writers in literature, but is it the same pride these intellectuals feel for their countries?
|
en
|
/themes/custom/uv_theme/favicon.ico
|
Friedrich Naumann Foundation
|
https://www.freiheit.org/spain-italy-portugal-and-mediterranean-dialogue/cultured-colour-mediterranean-and-its-35-nobel
|
The data endorse the broad intellectuality of the shores that frame the Mare Nostrum, and the fact is that, among other statistics, its waves dance proudly to the beat of the lines written by the 35 Nobel Prize winners for Literature from our Mediterranean countries.
After all, even the Mediterranean Sea itself has a "cultured colour", as one of our nobles, Camilo José Cela, said: "The Mediterranean is clear because its colour is at the service of its culture. The greens and blues of its waters, and the golds and siennas of its lands, are cultured greens and blues and golds and siennas not only because they are exposed to a meridian light, but also because they are full of tradition, because they have been fixed for many centuries".
Yes, the greens and blues of its waters, but also those golds and siennas of these lands that attracted the birth or nationalisation of our Nobel Prize-winning writers in eight of the Mediterranean countries. This means that 20.5% of the total number of nations (39) with intellectuals who have received this lofty literary recognition since Sweden began awarding the prizes in 1901 are Mediterranean.
France, Italy, Spain, Greece, Yugoslavia, Israel, Egypt and Turkey. How honoured these countries must be to represent the Mediterranean region with more than 20 % of the total number of Nobel Literature Prize winners!
But why put the names of the countries before the names of their intellectuals? Was it not these men (and one woman) who won the difficult Nobel Prize? Prudhomme, Mistral, Echegaray, Carducci, Rolland, France, Benavente, Deledda, Bergson, Bunin, Pirandello, Martin du Gard, Gide, Mauriac, Jiménez, Camus, Quasimodo, Perse, Andric, Seferis, Sartre, Agnon, Montale, Aleixandre, Elytis, Simon, Mahfuz, Cela, Fo, Pamuk, Le Ciezio, Modiano and Ernaux, as well as Mediterranean nationals Vargas Llosa and Xingjian.
It is simple and logical that Mediterranean nations can be proud of their writers, but are our intellectuals proud of their countries?
The Greek Nobel laureate Odysseus Elytis was clear from the moment he gave his speech when he received his prize in Sweden. He extolled the luminosity, transparency and virtues of language in the face of the need to give them the greatest possible visibility because they are all the more necessary "the denser the darkness that characterises the age in which we live".
On another shore of our sea, the Nobel laureate Naguib Mahfuz, if he was not already one in life, extended his wise legend not only in the Egypt where he was born but throughout the Mediterranean after his death almost 20 years ago. He always wanted to put the conciliation of the word before the adversity of the possible irrationality between two different and sometimes opposing cultures, with the common goal that the countries on the different shores of the Mediterranean should not be so far apart. "The throne gives glory", Mahfuz admitted, "but happiness depends on one's wisdom", he added later in his work Akhnaton, for, in times of conflict, "we do not need more territory, but more wisdom to preserve it".
The French writer Annie Ernaux was right when, not long after receiving her Nobel Prize in 2022, she stated bluntly that "literature is not meant to provide solutions", although it "can try to explain a situation" in the face of a political crisis.
It is not a question of talking about The Bonds of Interest, nor of anyone having Gide's The Counterfeiters, much less of accusing any leader of creating Mauriac's The Knot of Vipers, nor of believing that we are living through Camus' The Plague, nor of considering that some of the countries are, like Pirandello, Six Characters in Search of an Author. No, it is none of these examples, no matter how beautiful they are considered to be. What really interests, or should interest, everyone without exception, is that "forgiveness as a path to peace", or at least "inner peace", as the Turkish Pamuk said.
And if, despite this, we still cannot find the longed-for solution, we can look to the beauty of the words of poetry, because its verses are, nothing more and nothing less, the artistic genre "of approaching that which surpasses us", in the words of the versed Elytis. "Ah, yes, indeed, times have always been durtfiger (of destitution) for man! But, for its part, poetry has never ceased to officiate".
Nor should we forget the words of Yugoslavian Nobel laureate Ivo Andric when he dared to note that "the greatness of a country is measured by how it treats its most vulnerable citizens".
Perhaps we need to look to The Alley of Miracles (Mahfuz) to learn that the solution that will increasingly allow us to shorten the possible distance from the Mediterranean countries is right here, in our own - more ours and more ours than ever - Mare Nostrum.
|
||||
correct_award_00067
|
FactBench
|
1
| 10
|
https://www.shinygreece.com/post/odysseas-elytis-famous-poet
|
en
|
Odysseas Elytis
|
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] |
[] |
[] |
[
""
] | null |
[
"Shiny Greece"
] |
2017-07-30T23:31:33+00:00
|
Odysseas Elytis [1911 – 1996] was a famous poet, considered as a major international representative of romantic modernism globally.
|
en
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shinygreece
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https://www.shinygreece.com/post/odysseas-elytis-famous-poet
|
Authors
George P. Papadellis | SG Head
with some good tips from AI
Odysseas Elytis was a Greek poet and a prominent figure in the Greek literary world. He was one of the most important poets of the 20th century, a major international representative of romantic modernism globally, and the first Greek to receive the Nobel Prize in Literature in 1979. Elytis was known for his ability to transform ordinary experiences into extraordinary poetry, which was characterized by a unique style, rich language, and vivid imagery. His poetry emphasized on the expression of passion, borrowing from the Ancient Greece and the Byzantium, but focusing on Hellenism. He was also a painter, and his poetic vision was heavily influenced by his love for art. In this article, we explore the life, works, and legacy of Odysseas Elytis.
Odysseas Elytis in Rome, Photo by: in the public domain (according to Wikimedia Commons)
Early Life
Odysseas Elytis was born in Heraklion, Crete (1911), and he grew up in Athens. His father was a businessman, and his mother was an art lover. Elytis showed an early interest in literature and art, and he began writing poetry at a young age. He studied law at the University of Athens, but his passion for poetry was stronger, and he dropped out of college to pursue his artistic career.
Career of Odysseas Elytis
Elytis published his first collection of poems "Orientations" in 1939, which was followed by "Sun the First" in 1943. These collections established him as a leading poet in Greece. In 1948, Elytis published "Axion Esti", a poetic masterpiece that has been translated into many languages and is considered one of the most important works of modern Greek literature. "Axion Esti" is a lyrical tribute to Greece, its people, and its history, and it is characterized by a rich language, vivid imagery, and a musical quality that is reminiscent of ancient Greek poetry. Elytis continued to write poetry throughout his life, and his works include "The Sovereign Sun" (1954), "Maria Nefeli" (1978), and "West of Sorrow" (1985).
Photo by: Sp!ros, Odysseas Elytis 11 34 39 063000, cropped by Shiny Greece, CC BY-SA 4.0
He also wrote essays and articles on literature, art, and politics, and he was a passionate advocate for Greek culture. Elytis was also a painter, and his paintings were heavily influenced by his love for poetry. He created a series of paintings based on his poem "To Axion Esti", which are considered some of his best works. His paintings are characterized by bright colors, bold lines, and abstract forms, and they reflect his poetic vision of the world.
Legacy
Elytis on Coin | Photo by: Jorge-11, Elytis, Odysseas (1911-1996), CC BY 2.0
Odysseas Elytis was a prominent figure in the Greek literary world, and his contributions to Greek culture are immeasurable. His poetry was characterized by a unique style, rich language, and vivid imagery, and it has inspired generations of Greek poets. His paintings were also an important part of his artistic legacy, and they have been exhibited in museums and galleries around the world. Elytis was also a cultural ambassador for Greece, and he promoted Greek culture and literature on the international stage. He was awarded numerous honors for his contributions to Greek culture, including the Nobel Prize in Literature in 1979.
Inspiration
Odysseas Elytis was a poet of light and color, whose works continue to inspire and enchant readers around the world. He was a cultural ambassador for Greece and a passionate advocate for Greek culture, literature, and art. His contributions to Greek culture are immeasurable, and his legacy will continue to inspire generations to come.
|
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correct_award_00067
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FactBench
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2
| 12
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https://www.britannica.com/topic/The-Axion-Esti
|
en
|
The Axion Esti | poem by Elytis
|
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Other articles where The Axion Esti is discussed: Odysseus Elytis: The Axion Esti), a long poem in which the speaker explores the essence of his being as well as the identity of his country and people. This poem, set to music by Mikis Theodorakis, became immensely popular and helped Elytis earn the Nobel Prize.
|
en
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/topic/The-Axion-Esti
|
In Odysseus Elytis
The Axion Esti), a long poem in which the speaker explores the essence of his being as well as the identity of his country and people. This poem, set to music by Mikis Theodorakis, became immensely popular and helped Elytis earn the Nobel Prize.
Read More
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correct_award_00067
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FactBench
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1
| 47
|
https://www.coppercanyonpress.org/books/open-papers-by-odysseas-elytis-tr-olga-broumas-and-t-begley/
|
en
|
Open Papers by Odysseas Elytis, Olga Broumas, T Begley, trans. – Copper Canyon Press
|
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https://www.coppercanyonpress.org/books/open-papers-by-odysseas-elytis-tr-olga-broumas-and-t-begley/
|
Reviews
“Open Papers chronicles the life of poetry in modern Greece while identifying the allegiances and passionate particulars of one of the supreme poets of an age. It opens a world that is palpably within this one.” —Sam Hamill, from the introduction
“If, through the decades, Elytis did take political and artistic risks, this clear articulation shows that his art was not guided by luck or risk alone but by a real belief in modernism.” —Publishers Weekly
“Open Papers is… a sweeping exploration of the mind and the mystic imagination of one of the most original, visionary, and compelling poets of this century.” —Translation Review
|
|||||||
correct_award_00067
|
FactBench
|
3
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https://www.geni.com/people/Odysseus-Elytis-Nobel-Prize-in-Literature-1979/6000000014673818263
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en
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Odysseus Elytis, Nobel Prize in Literature, 1979
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Genealogy for Odysseus Elytis (Alepoudhiéis) (1911 - 1966) family tree on Geni, with over 240 million profiles of ancestors and living relatives.
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https://www.geni.com/people/Odysseus-Elytis-Nobel-Prize-in-Literature-1979/6000000014673818263
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Odysseas Elytis (Οδυσσέας Ελύτηςborn - Οδυσσέας Αλεπουδέλης) (November 2, 1911 – March 18, 1996) was regarded as a major exponent of romantic modernism in Greece and the world. In 1979 he was bestowed with the Nobel Prize in Literature.
Biography
Descendant of the Alepoudelis, an old industrial family from Lesbos, Elytis was born in Heraklion on the island of Crete, on November 2, 1911. His family later moved to Athens, where the poet graduated from high school and later attended courses as an auditor at the Law School at University of Athens.
In 1935 Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. His entry with a distinctively earthy and original form assisted to inaugurate a new era in Greek poetry and its subsequent reform after the Second World War.
From 1969-1972, under the Greek military junta of 1967–1974, Elytis exiled himself to Paris. He was romantically linked to the lyricist and musicologist Mariannina Kriezi, who subsequently produced and hosted the legendary children's radio broadcast "Here Lilliput Land". Elytis was intensely private and vehemently solitary in pursuing his ideals of poetic truth and experience.
The war
In 1937 he served his military requirements. As an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters, then transferred to the 24th Regiment, on the first-line of the battlefields. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world.
He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.
Programme director for ERT
He was twice Programme Director of the Greek National Radio Foundation (1945–46 and 1953–54), Member of the Greek National Theatre's Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourist's Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
Travels
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Francoise Gilot, Chagall, Giacometti) as Tériade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean Paul Sartre, Francoise Gilot, Rene Daumal...) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations". Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.
In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; and —upon similar invitations— through the Soviet Union in 1963 and Bulgaria in 1965.
Elytis was also a talented painter and produced illustrations of his lyrical world in gouaches and collages.
Death
Elytis never married; during his last years his companion was the poet Ioulita Iliopoulou. Odysseas Elytis had been completing plans to travel overseas when he died in Athens on 18 March 1996, at the age of 84. He was survived by his niece Myrsene and his older brother Evangelos, who received a writ of condolence from the mayor of Athens on behalf of the nation at the funeral at the First National Cemetery.
The Poetry of Elytis
Elytis' poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarefied and passionate. He borrowed certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today's Hellenism, of which he attempted—in a certain way based on psychical and sentimental aspects—to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people's conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a "worshiper" -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work Worthy It Is (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
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correct_award_00067
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FactBench
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1
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https://search.worldcat.org/title/collected-poems-of-odysseus-elytis/oclc/35822527
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en
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The collected poems of Odysseus Elytis
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"In awarding Odysseus Elytis the 1979 Nobel Prize in literature, the Swedish Academy declared that he had been selected "for his poetry, which, against the background of Greek tradition, depicts with
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https://search.worldcat.org/title/The-collected-poems-of-Odysseus-Elytis/oclc/35822527
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Orientations
First Poems : Of the Aegean ; Climate of Absence ; Second Nature ; Seven Nocturnal Heptastichs ; Window toward the Fifth Season
Orientations : Orion ; Anniversary ; Dionysos
Clepsydras of the Unknown
Sporades : Helen ; Sleeping Girl ; Convolution ; Eve ; Clear Skies
The Concert of Hyacinths
In Service of Summer : Ode to Santorini ; Famous Night ... ; Marina of the Rocks ; Age of Glaucous Memory ; Adagio ; Blissful Donna ; Melancholy of the Aegean ; Wind of the Virgin ; Depth ; Image of Boeotia ; Birth of Day ; The Whole World ; Beautiful Girl in the Garden ; The Mad Pomegranate Tree
Sun The First : I ; II Body of Summer ; III ; IV ; V ; VI ; VII ; VIII ; IX ; X ; XI Sailor Boy of the Orchard ; XII ; XIII ; XIV ; XV ; XVI ; XVII; XVIII ; Variations on a Sunbean : Red ; Green ; Yellow ; The Orange Girl ; Light Blue ; Dark Blue ; Violet
Song Heroic and Mourning For The Lost Second Lieutenant Of The Albanian Campaign
The Axion Esti : The Genesis ; In the beginning the light And the first hour ; And he who I truly was he many aeons ago ; But before I heard wind or music ; "And this world you must see and receive" ; And then I understood the surf and the long ... ; "But first you will see the wilderness ..." ; And because the hours turned like days ; The Passion ; Psalm I. Behold here am I ; Psalm II. I was given the Greek language ; Ode 1. My mouth was still in clay ; First Reading: The March to the Front ; Ode 2. Still very young I came to know ; Psalm III. You never gave me wealth ; Psalm IV. I added up my days and I never ; Ode 3. Alone I governed ; Second Reading: The Mule Drivers ; Ode 4. A solitary swallow ; Psalm V. My foundations in the mountains ; Psalm VI. The poet of clouds and waves ... ; Psalm VII. They came ; Psalm VIII. They came ; Ode 5. With the star-lantern I ; Third Reading: The Great Exodus ; Ode 6. O sun of Justice in the mind ; Psalm IX. He is ; Psalm X. The Young Alexandrians mocked me ... ; Ode 7. This world this world ; Fourth Reading: The Vacant Lot with the Nettles ; Ode 8. I turned my eyes ; Psalm XI. Wherever you are, brother, I cry ; Psalm XII. And deep midnight in the rice paddies ... ; Psalm XIII. Iniquities defiled my hands ... ; Psalm XIV. Temples with the sky's schema ; Ode 9. Leaving the clouds ; Fifth Reading: The Courtyard of Sheep ; Ode 10. The blood of love ; Psalm XV. God you wanted me thus and look ... ; Psalm XVI. Early I woke sensual pleasures ; Ode 11. I shall tonsure myself ; Sixth Reading: Prophetic ; Ode 12. I open my mouth ; Psalm XVII. I'm on my way now ... ; Psalm XVIII. I'm on my way now ... ; The Gloria ; Axion Esti the light and the first ; Axion Esti the soil that raises ; Axion Esti the wolf's muzzle
Six And One Remorses For The Sky : Beauty and the Illiterate ; The Autopsy ; Sleep of the Brave ; Sleep of the Brave (Variation) ; Laconic ; Origin of Landscape; or, The End of Mercy ; The Other Noah ; Seven Days for Eternity. The Light-Tree And The Fourteenth Beauty : Palm Sunday ; The Kore the Northwind Brought ; Delos ; August Event ; Three Times the Truth ; "Through the Myrtle" ; On the Republic ; Without Yashmak ; The Red Horse ; Little Green Sea ; The Wall-Painting ; The Odyssey ; Archetype ; The Light-Tree ; Palintrope ; The Garden of the Scorched Hand ; What Cannot Be ; So Long as Abided the Star ; The Two of the World ; The Two of the World (Variation) ; Theoktisti ; Gift of a Silver Poem
The Monogram
Stepchildren : First Series ; Psalm and Mosaic for Spring in Athens ; Angel of the Twelve Islands ; Ode to Picasso ; Of the Moon of Mytilene: Old and New Ode ; George Sarandaris ; Small Analagon ; Mozart: Romance from the Concerto for Piano No. 20, K.466 ; Second Series ; Helen of Crete: From the Front and from the Side ; The Leaf Seer ; Idol of the Century ; Death and Resurrection of Constantine Paleologus ; Villa Natacha ; Elytonesos: Commonly Elytisisle ; Mystic Versicles: For a Matins in the Hermitage of Apollos
Maria Nephele : The Presence ; A ; The Forest of Men ; The Map-Fix ; Nephele ; Nephelegeretes ; Patmos ; The Revelation ; Disquisition on Beauty ; The Waterdrop ; Through the Mirror ; Aegeis ; Thunderbolt Steers ; Hymn to Maria Nephele ; The Trojan War ; Helen ; The Song of Maria Nephele ; B ; Pax San Tropenzana ; The Planet Earth ; The Dagger ; Each Moon Confesses ; Ancestral Paradise ; Paper Kite ; Eau de Verveine ; Disquisition on Purity ; Upper Tarquinia ; Eye of the Locust ; Hymn in Two Dimensions ; Declaration of Responsibility ; The Holy Inquisition ; St. Francis of Assisi ; The Song of the Poet ; C ; Bonjour Tristesse ; Morning Exercises ; The Poets ; That Which Persuades ; The Twenty-four-hour Life ; The Lifelong Moment ; Disquisition on Justice ; Nude Study ; Electra Bar ; Parthenogenesis ; Djenda ; Ich Sehe Dich ; Stalin ; The Hungarian Uprising ; The Eternal Wager
Three Poems Under A Flag Of Convenience : The Garden Sees ; The Almond of the World ; Ad Libitum
Diary Of An Invisible April : Come now my right hand ; Wednesday, 1 ; Wednesday 1 b ; Thursday, 2 ; Thursday 2 b ; Thursday 2 c ; Friday 3 ; Saturday, 4 ; Sunday, 5 ; Sunday, 5 b: The End of Alexander ; Tuesday, 7 ; Tuesday 7 b ; Wednesday, 8 ; Wednesday, 8 b ; Wednesday, 8 c ; Thursday, 9 ; Friday, 10 ; Friday, 10 b ; Friday, 10 c ; Saturday, 11 ; Saturday, 11 b ; Sunday, 12: In memory of Memas ; Wednesday, 15 ; Wednesday, 15 b ; Wednesday, 15 c ; Thursday, 16 ; Saturday, 18 ; Saturday, 18 b ; Saturday, 18 c ; Sunday, 19 ; Sunday, 19 b ; Sunday, 19 c ; Holy Monday, 20 ; Holy Tuesday, 21 ; Holy Wednesday, 22 ; Holy Thursday, 23 ; Holy Thursday, 23 b ; Good Friday, 24 ; Good Friday, 24 b: In Place of a Dream ; Holy Saturday, 25 ; Holy Saturday, 25 b ; Easter Sunday, 26 ; Easter Sunday, 26 b: Little Song ; Wednesday, 29 ; Friday, 1 M: Mayday ; Saturday, 2 M ; Sunday, 3 M ; Monday, 4 M ; Monday, 4 M b ; Thursday, 7 M ; Everything vanishes. To each his hour too. The Little Seafarer : Entrance ; Spotlight i ; To Anoint the Repast [I-VII] ; With Both Light and Death [1-7] ; What One Loves (The Traveling Bag) ; Spotlight ii ; To Anoint the Repast [VIII-XIV] ; With Both Light and Death [8-14] ; What One Loves (Aegean Route) ; Spotlight iii ; To Anoint the Repast [XV-XXI] ; With Both Light and Death [15-21] ; What One Loves (Snapshots) ; Spotlight iv ; To Anoint the Repast [XXII-XXVIII] ; Exit
The Elegies of Jutting Rock : Of the Harmless, the Hopebearer, the Unhindered ; The Icon ; "Cupid and Psyche" ; Elegy of Gruningen ; Awe and Whelming of Solomos ; La Pallida Morte ; Past Midnight ; Friday When It Always Rains ; Unmarked ; Lost Commagene ; The Presentation of the Death-Touched (Dream) ; July Word ; Verb the Dark ; The Last of Saturdays
West Of Sorrow : Of Ephesus ; Rodamos and Hebe ; For a Ville d'Avray ; Towards Troy ; In Ioulita's Blue ; The Marble Table ; As Endymion
Open Papers
Chronology of the Life of Odysseus Elytis
Nobel Address
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https://www.britannica.com/topic/Winners-of-the-Nobel-Prize-for-Literature-1856938
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en
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Winners of the Nobel Prize for Literature | Authors, Poets, Playwrights
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2012-06-25T00:00:00+00:00
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The Nobel Prize for Literature is awarded, according to the will of Swedish inventor and industrialist Alfred Bernhard Nobel, “to those who, during the preceding year, shall have conferred the greatest benefit on mankind” in the field of literature. It is conferred by the Swedish Academy in
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/topic/Winners-of-the-Nobel-Prize-for-Literature-1856938
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The Nobel Prize for Literature is awarded, according to the will of Swedish inventor and industrialist Alfred Bernhard Nobel, “to those who, during the preceding year, shall have conferred the greatest benefit on mankind” in the field of literature. It is conferred by the Swedish Academy in Stockholm.
The table provides a list of winners of the Nobel Prize for Literature.
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correct_award_00067
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FactBench
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https://www.abebooks.com/books/nobel-prize-in-literature-winners
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Nobel Prize in Literature winners
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[
"list of nobel writers",
"nobel authors",
"nobel prize for literature"
] | null |
[] |
2022-09-21T00:00:00
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The Nobel Prize for Literature is the world’s most important international literary honor. Browse the complete list of winning authors since 1901.
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en
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https://www.abebooks.com/favicon.ico
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AbeBooks
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https://www.abebooks.com/books/nobel-prize-in-literature-winners
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The Nobel Prize for Literature is the world’s most important international literary honor. Alfred Nobel - the Swedish scientist, engineer, and inventor - left his fortune to establish awards for physics, chemistry, physiology/medicine, peace, and literature.
The prizes began in 1901, and the first winner for literature was the French poet and essayist Sully Prudhomme. The winner is decided by a committee consisting of members from the Swedish Academy, which was founded in 1786. The Swedish Academy features 18 people of note – such as writers, scholars, and historians - who have the role for life. The prize is awarded for a writer’s overall body of work although individual works of importance have been cited at times.
Past winners include Annie Ernaux, Ernest Hemingway, Albert Camus, Hermann Hesse, José Saramago, Pablo Neruda, Kazuo Ishiguro, and Aleksandr Solzhenitsyn. Swedish author Selma Lagerlöf was the first woman to win the Nobel Prize for Literature in 1909.
The Nobel Prize looks for excellence in more than just fiction. Non-fiction authors (Winston Churchill and Bertrand Russell), poets (such as T.S. Eliot), playwrights (such as Harold Pinter and Nelly Sachs), a short story writer (Alice Munro), and even a singer/songwriter, Bob Dylan, have been honored.
The 2023 winner is Jon Fosse, one of Norway’s most prominent and celebrated playwrights and novelists. His works, often marked by their minimalist style and deep existential themes, explore the interior lives of rather solitary characters. He published his first novel, “Red, Black,” in 1983, and his debut play Someone Is Going to Come followed in 1992. His work A New Name: Septology VI-VII was a finalist for the International Booker Prize in 2022 and his other major works include Melancholy; Morning and Evening and Aliss at the Fire.
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https://www.facebook.com/EnglishLiterature11/photos/-the-nobel-prize-in-literature-2023jon-fosse-for-his-innovative-plays-and-prose-/350249800902425/
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http://faculty.webster.edu/corbetre/personal/reading/elytis-selected.html
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en
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By Odysseus Elytis SELECTED POEMS>
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Reviews of Nobel Prize winner | Comments on all Shakespeare's plays | Poetry reviews | Multiple reviews of same author | Haiti books |
SELECTED POEMS (poetry) (Nobel Prize: 1979)
By Odysseus Elytis
Chosen and Introduction by Edmund Keeley and Philip Sherrard
Translated by Edmund Keeley, George Savidis, Philip Sherrard, John Stathatos, Nanos Valoritis
New York: Penguin Books, 1981
ISBN # 0-14-042.289-7
114 pages
Comments by Bob Corbett
July 2013
I have very mixed feelings about this book of selections from nearly 40 years of Elytis poetry. I have to imagine that the editors believe they have selected a decent representation of Elytis work and development.
On the positive side I love the Greece he writes about. Ive been there several times, a couple a times for nearly a months time. As a tourist, and while not wealthy, I was able to at least live a comfortable enough life, in a decent place, eat and drink well, and travel about a good deal. Elytis sings the joys of the sun, the sea, the national character, the love of food and drink and dance and music, and most especially, the whole of nature. Nonetheless it is hard to think that Elytis view is as typical of the ordinary everyday Greek as he seems to wish. I seemed to see many people, the mass, especially away from central tourist areas, to have lived quite difficult lives that just didnt seem to match the way Elytis tells it.
Elytis is certainly not easy. His images are more gently suggested than spelled out and too often I couldnt really see or feel the world he was describing. When I could understand and follow him, which was less often than when I couldnt, I enjoyed his writing and he stimulated many marvelous memories of my own experiences. But, alas, I struggled and will not likely be rushing out to read another of his works in any near future.
I will make just a few comments along the way. I did appreciate the introduction which set his work into a context for me even if it didnt help much in my understanding his poetry.
INTRODUCTION
Elytis tends to have three sorts of influence on his style:
Like other Greek poets he rejects the classical tradition and writes in a more Demotic style (Demotic is using the spoken idiom of the people as the basis for literary tradition or the modern form of the Greek language).
He relies on the great liturgical traditions of the Greek Orthodox tradition.
He invests his poetry with the physical world of Greece:
. . . its seas, its skies, its great mountain ranges, its dusty fig trees and its coruscating olive trees, its ancient monuments, its harsh, penumbral islands, its explosive light, all not yet violated by the grosser obscenities of tourism and commerce. (p. xi)
Elytis wanted to escape the Wests expectation rooted in the Classical Greek tradition and early on he saw the model of French Surrealism as a way, as he says . . . to make a sort of revolution by perceiving the Greek Truth.
This description works so well for me. I was educated in the traditions of Ancient Greece, but Ive never been much attracted to the literature of that period. However, I have read a great deal of the fiction of Nikos Kazanzakis vision of contemporary Greece which sounds much like what the introduction describes as demotic Greek. Further, from the 1980s into the early 21st century Ive been to Greece several times for significant stays and the description of the introduction of modern Greece is the image I carry at the forefront of my own experiences.
A FEW COMMENTS ALONG THE WAY
Ode to Santorini is a powerful paean to the volcanic eruptive birth of the island. Very nice!
Body of Summer tells of a man, a figure actually, who basks in the summer on the beach, yet survives the winter and again will return to the joys of summer when it comes.
Elytis shows the physical beauty and ruggedness of Greece, but too little is shown of how one lives there and who gets to enjoy these wonders and when. There are few details of the daily life of the average people, and they often sound idealized, and seldom concrete.
Heroic and Elegiac Song For The Lost Second Lieutenant of the Albanian Campaign was quite fascinating.
In 1940 the Greeks joined Albanians in a battle to keep Albania freed from Italian rule. Elytis was part of that campaign and this poem resulted. We follow the life of a young man who had been living a nearly utopian rural-boy young mans life, then was called into soldiering to defend his country.
In one place he writes:
For fate is no ones widow
And mothers are born to weep, men to struggle
Gardens to flower on a young girls breast
And freedom to flash out unceasingly.
In his poem From The Genesis he writes of the creator
And he spread his hands as would a young novice God creating pain
And mirth together.
I was delighted with that image! a young novice God . . . Marvelous.
The Gloria was quite powerful, a real celebration of the sort of Greece I experienced in my visits.
The poem The Mad Mad Boat is a lovely poem which I take to be about Greece and its debt to the sun. Elytis is very lyrical and utopian when he goes into raptures about Greeces nature beauty and resources.
The poem The Cloudgather makes me think that perhaps I am not the only one who found Elytis poetry to be rather difficult at times. He seems to acknowledge this himself:
Ah how nice to be a cloudgather
to write epics on your old shoes as Homer did
not to care a bit if you please or not
zero
Unperturbed you read unpopularity
this way; with generosity; as if you owned
a mint that you could close down
firing all the personnel
in order to cultivate a poverty all your own
that no one else possesses.
Ah me, I walk away from Elytis book with such mixed feelings, but not likely to soon return.
Bob Corbett corbetre@webster.edu
BACK TO BOOK REVIEWS
Becoming Reading Thinking Journals
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| 23
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https://www.livescience.com/16364-nobel-prize-literature-history.html
|
en
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Nobel Prize in Literature: 1901-Present
|
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2019-10-11T12:53:00+00:00
|
A history of the Nobel Prize in Literature, including winners Toni Morrison, Gabriel Garcia Marquez and John Steinbeck.
|
en
|
livescience.com
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https://www.livescience.com/16364-nobel-prize-literature-history.html
|
The Nobel Prize in Literature is given to "the person who shall have produced in the field of literature the most outstanding work in an ideal direction," according to Alfred Nobel's will. The 18-member Swedish Academy selects the Nobel Laureates in Literature.
The winners, along with the reasons given by the Swedish Academy for the award, are:
2019: Peter Handke "for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience," the Royal Swedish Academy of Sciences announced. The 76-year-old Austrian author is perhaps best known for his novella on his mother's suicide, "A Sorrow Beyond Dreams." Handke was a controversial choice due to his support for the Serbs during the 1990s Yugoslav war, the BBC News reported.
2018: Olga Tokarczuk "for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life," the Royal Swedish Academy of Sciences announced. Her novel "Primeval and Other Times" traces the history of Poland from WWI to the 1980s, the BBC News reported.
2017: English author Kazuo Ishiguro "who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world," according to the Swedish Academy. His novels include: "The Remains of the Day," "Never Let Me Go," "The Buried Giant," "When We Were Orphans," "An Artist of the Floating World," "A Pale View of Hills," "Nocturnes: Five Stories of Music and Nightfall" and "The Unconsoled.
2016: The Swedish Academy of Science has awarded this year's Nobel Prize in Literature to Bob Dylan, "for having created new poetic expressions within the great American song tradition."
2015: Belarusian author Svetlana Alexievich "for her polyphonic writings, a monument to suffering and courage in our time," according to the Swedish Academy. She is known for her works about the women involved in World War II; the consequences of the Chernobyl nuclear disaster in 1986; a portrayal of the Soviet Union's war in Afghanistan; and other books depicting life in the Soviet Union.
2014: Patrick Modiano "for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation," according to the Swedish Academy.
2013: Alice Munro, for "her finely tuned storytelling."
2012: Mo Yan, for his "mixture of fantasy and reality, historical and social perspectives."
2011: Tomas Tranströmer, "because, through his condensed, translucent images, he gives us fresh access to reality."
2010: Mario Vargas Llosa, "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt and defeat."
2009: Herta Müller,"who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed."
2008: Jean-Marie Gustave Le Clézio, "author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization."
2007: Doris Lessing, "that epicist of the female experience, who with skepticism, fire and visionary power has subjected a divided civilization to scrutiny."
2006: Orhan Pamuk, "who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures."
2005: Harold Pinter, "who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms."
2004: Elfriede Jelinek, "for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power."
2003: John M. Coetzee, "who in innumerable guises portrays the surprising involvement of the outsider."
2002: Imre Kertész, "for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history."
2001: Sir Vidiadhar Surajprasad Naipaul, "for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories."
2000: Gao Xingjian, "for an œuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama."
1999: Günter Grass, "whose frolicsome black fables portray the forgotten face of history."
1998: José Saramago, "who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality."
1997: Dario Fo, "who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden."
1996: Wislawa Szymborska, "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality."
1995: Seamus Heaney, "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past."
1994: Kenzaburo Oe, "who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today."
1993: Toni Morrison, "who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality."
1992: Derek Walcott, "for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment."
1991: Nadine Gordimer, "who through her magnificent epic writing has - in the words of Alfred Nobel - been of very great benefit to humanity."
1990: Octavio Paz, "for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity."
1989: Camilo José Cela, "for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability."
1988: Naguib Mahfouz, "who, through works rich in nuance - now clear-sightedly realistic, now evocatively ambiguous - has formed an Arabian narrative art that applies to all mankind."
1987: Joseph Brodsky, "for an all-embracing authorship, imbued with clarity of thought and poetic intensity."
1986: Wole Soyinka, "who in a wide cultural perspective and with poetic overtones fashions the drama of existence."
1985: Claude Simon, "who in his novel combines the poet's and the painter's creativeness with a deepened awareness of time in the depiction of the human condition."
1984: Jaroslav Seifert, "for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man."
1983: William Golding, "for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today."
1982: Gabriel García Márquez, "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts."
1981: Elias Canetti, "for writings marked by a broad outlook, a wealth of ideas and artistic power."
1980: Czeslaw Milosz, "who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts."
1979: Odysseus Elytis, "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness."
1978: Isaac Bashevis Singer, "for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life."
1977: Vicente Aleixandre, "for a creative poetic writing which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars."
1976: Saul Bellow, "for the human understanding and subtle analysis of contemporary culture that are combined in his work."
1975: Eugenio Montale, "for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions."
1974: Eyvind Johnson, "for a narrative art, far-seeing in lands and ages, in the service of freedom," and Harry Martinson, "for writings that catch the dewdrop and reflect the cosmos."
1973: Patrick White, "for an epic and psychological narrative art which has introduced a new continent into literature."
1972: Heinrich Böll, "for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature."
1971: Pablo Neruda, "for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams."
1970: Aleksandr Isayevich Solzhenitsyn, "for the ethical force with which he has pursued the indispensable traditions of Russian literature."
1969: Samuel Beckett, "for his writing, which - in new forms for the novel and drama - in the destitution of modern man acquires its elevation."
1968: Yasunari Kawabata, "for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind."
1967: Miguel Angel Asturias, "for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America."
1966: Shmuel Yosef Agnon, "for his profoundly characteristic narrative art with motifs from the life of the Jewish people," and Nelly Sachs, "for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength."
1965: Mikhail Aleksandrovich Sholokhov, "for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people."
1964: Jean-Paul Sartre, "for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age."
1963: Giorgos Seferis, "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture."
1962: John Steinbeck, "for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception."
1961: Ivo Andric, "for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country."
1960: Saint-John Perse, "for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time."
1959: Salvatore Quasimodo, "for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times."
1958: Boris Leonidovich Pasternak, "for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition."
1957: Albert Camus, "for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times."
1956: Juan Ramón Jiménez, "for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity."
1955: Halldór Kiljan Laxness, "for his vivid epic power which has renewed the great narrative art of Iceland."
1954: Ernest Miller Hemingway, "for his mastery of the art of narrative, most recently demonstrated in 'The Old Man and the Sea,' and for the influence that he has exerted on contemporary style."
1953: Sir Winston Leonard Spencer Churchill, "for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values."
1952: François Mauriac, "for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life."
1951: Pär Fabian Lagerkvist, "for the artistic vigor and true independence of mind with which he endeavors in his poetry to find answers to the eternal questions confronting mankind."
1950: Earl (Bertrand Arthur William) Russell, "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought."
1949: William Faulkner, "for his powerful and artistically unique contribution to the modern American novel."
1948: Thomas Stearns Eliot, "for his outstanding, pioneer contribution to present-day poetry."
1947: André Paul Guillaume Gide, "for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight."
1946: Hermann Hesse, "for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style."
1945: Gabriela Mistral, "for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world."
1944: Johannes Vilhelm Jensen, "for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style."
1940-1943: No Nobel Prize awarded
1939: Frans Eemil Sillanpää, "for his deep understanding of his country's peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature."
1938: Pearl Buck, "for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces."
1937: Roger Martin du Gard, "for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault."
1936: Eugene Gladstone O'Neill, "for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy."
1935: No Prize awarded.
1934: Luigi Pirandello, "for his bold and ingenious revival of dramatic and scenic art."
1933: Ivan Alekseyevich Bunin, "for the strict artistry with which he has carried on the classical Russian traditions in prose writing."
1932: John Galsworthy, "for his distinguished art of narration which takes its highest form in The Forsyte Saga."
1931: Erik Axel Karlfeldt, for his poetry.
1930: Sinclair Lewis, "for his vigorous and graphic art of description and his ability to create, with wit and humor, new types of characters."
1929: Thomas Mann, "principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature."
1928: Sigrid Undset, "principally for her powerful descriptions of Northern life during the Middle Ages."
1927: Henri Bergson, "in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented."
1926: Grazia Deledda, "for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general."
1925: George Bernard Shaw, "for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty."
1924: Wladyslaw Stanislaw Reymont, "for his great national epic, The Peasants."
1923: William Butler Yeats, "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation."
1922: Jacinto Benavente, "for the happy manner in which he has continued the illustrious traditions of the Spanish drama."
1921: Anatole France, "in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament."
1920: Knut Pedersen Hamsun, "for his monumental work, Growth of the Soil."
1919: Carl Friedrich Georg Spitteler, "in special appreciation of his epic, Olympian Spring."
1918: No Prize awarded
1917: Karl Adolph Gjellerup, "for his varied and rich poetry, which is inspired by lofty ideals," and Henrik Pontoppidan, "for his authentic descriptions of present-day life in Denmark."
1916: Carl Gustaf Verner von Heidenstam, "in recognition of his significance as the leading representative of a new era in our literature."
1915: Romain Rolland, "as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings."
1914: No Prize awarded
1913: Rabindranath Tagore, "because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West."
1912: Gerhart Johann Robert Hauptmann, "primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art."
1911: Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck, "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations."
1910: Paul Johann Ludwig Heyse, "as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories."
1909: Selma Ottilia Lovisa Lagerlöf, "in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings."
1908: Rudolf Christoph Eucken, "in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life."
1907: Rudyard Kipling, "in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author."
1906: Giosuè Carducci, "not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces."
1905: Henryk Sienkiewicz, "because of his outstanding merits as an epic writer."
1904: Frédéric Mistral, "in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist," and José Echegaray y Eizaguirre, "in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama."
1903: Bjørnstjerne Martinus Bjørnson, "as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit."
1902: Christian Matthias Theodor Mommsen, "the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome."
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Nobel Prize-winning poet Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid…
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Poetry Foundation
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https://www.poetryfoundation.org/poets/odysseus-elytis
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Nobel Prize-winning poet Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. Although the Swedish Academy of Letters had bestowed the honor upon other previously little-known writers—among them Eugenio Montale, Vicente Aleixandre, and Harry Martison—their choice of Elytis came as a surprise nonetheless. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness ... [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition. Elytis later explained the motivations behind his embracing of the French ideals: “Many facets of surrealism I cannot accept, such as its paradoxical side, its championing of automatic writing; but after all, it was the only school of poetry—and, I believe, the last in Europe—which aimed at spiritual health and reacted against the rationalist currents which had filled most Western minds. Since surrealism had destroyed this rationalism like a hurricane, it had cleared the ground in front of us, enabling us to link ourselves physiologically with our soil and to regard Greek reality without the prejudices that have reigned since the Renaissance.”
Thus, Elytis adapted only selected principles of surrealism to his Greek reality. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.” In a review of a later work, O ilios o iliatoras (1971, translated as The Sovereign Sun, 1974), a writer for the Virginia Quarterly Review echoed Keeley’s eloquent praise: “An intuitive poet, who rejects pessimism and engages in his surrealistic images the harsh realities of life, Elytis is a voice of hope and naked vigor. There is light and warmth, an awakening to self, body, and spirit, in Elytis.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong. I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.”
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
Elytis’s To axion esti (1959, translated as Worthy It Is, 1974), came after a period of more than 10 years of silence. Widely held to be his chef d’oeuvre, it is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy. As in his other writings, Elytis depicted the Greek reality through an intensely personal tone. Keeley, the translator of the volume into English, suggested that To axion esti “can perhaps be taken best as a kind of spiritual autobiography that attempts to dramatize the national and philosophical extensions of the poet’s personal sensibility. Elytis’s strategy in this work ... is to present an image of the contemporary Greek consciousness through the developing of a persona that is at once the poet himself and the voice of his country.”
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece. When Maria Nefeli was first published in 1978, it met with a curious, yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti, so they [approached] Maria Nefeli with cautious hesitation as an experimental and not-so-attractive creation of rather ephemeral value.”
The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet ... not directly [transcribing] actual events,” he once stated, Maria Nefeli was based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis’s poem had changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis’s youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blase representative of today’s young woman ... This urban Nefeli is the offspring, not the sibling, of the women of Elytis’s youth. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
The poem consists of the juxtaposed statements of Maria Nefeli, who represents the ideals of today’s emerging woman, and Antifonitis, or the Responder, who stands for more traditional views. Through Maria, the Responder is confronted with issues which, though he would like to ignore them, he is forced to come to terms with. Rather than flat, lifeless characters who expound stale and stereotyped maxims, however, “both are sophisticated and complex urbanites who express themselves in a wide range of styles, moods, idioms and stanzaic forms,” maintained Raizis.
Despite the initial reservations voiced by some critics, Maria Nefeli came to be regarded as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Robert Shannan Peckham in the Times Literary Supplement noted that Elytis’s reputation as a major poet was ensured when he received the Nobel Prize for Literature in 1979. Elytis, though, was also a prolific essayist, writing a variety of nonfiction criticism translated and collected in Carte Blanche: Selected Writings in 2000. Peckham argued that the essays need to read “as an extension of the poetry, exuberantly lyrical and self-consciously metaphysical ... The essays cohere through an associative, poetic logic, rather than developing any sustained critical argument.” Peckham concluded that the collection would not “secure Elytis a place among the outstanding essayists of the twentieth century,” but praised the translation by David Connolly.
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood.”
Elytis died in Athens, Greece on March 18, 1996.
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https://en.wikiquote.org/wiki/Odysseas_Elytis
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Odysseas Elytis
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Odysseas Elytis (2 November 1911 – 18 March 1996) is a Greek poet, essayist and translator. He is the recipient of Nobel Prize in Literature in 1979.
Quotes
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The Swedish Academy's decision (to award me the Nobel Prize in Literature) was not only an honor for me but for Greece and its history through the ages. I believe that it was a decision to bring international attention to the most ancient tradition in Europe, since from Homer's time to the present there has not been a single century during which poetry has not been written in the Greek language.
Odysseas Elytis (2021) cited in: "On this day in 1996, Nobel prize winning poet Odysseus Elytis passes away" in Greek City Times, 18 March 2021.
Wikipedia has an article about:
Wikimedia Commons has media related to:
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https://www.nobelprize.org/prizes/literature/1979/press-release/
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Nobel Prize in Literature 1979
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/press-release/
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Press release
Press release
The Nobel Prize in Literature 1979
Odysseus Alepoudhélis (pseudonym Odysseus Elytis)
Odysseus Elytis’s name tells us a great deal about him as a person and a writer.
Odysseus – the seafarer, the Homeric poem’s hero, alive with the spirit of freedom, with defiant intrepidity, enterprise, and an insatiable appetite for all the adventures and sensuous experiences that the seas and isles of Greece can offer. Odysseus is the name given to the poet by his parents. It testifies to the feeling for the past and to the links with the myths and distinctive character of Greek tradition. The family comes from the Aegean islands. The poet was born in Crete just before the liberation from Turkish rule.
Elytis is the name he adopted at the very beginning of his career as a writer. The name is a composite one, with allusion to several concepts dear to the poet’s heart – it could be called a much abridged manifesto. The components in the name are to serve as a reminder of the Greek words for Greece (Ellas), hope (elpídha), freedom (elefthería) and the mythical woman who is the personification of beauty, erotic sensuality and female allure, Helena (Eléni). Eros and Heros are closely connected in Elytis’s world of poetry or myth.
The sea and the islands, their fauna and flora, the smooth pebbles on the beaches, the surge of the waves, the prickly black sea-urchins, the tang of salt, and the light over the water are constantly recurring elements in his writing – like the bright flood of sunlight which baptizes this world with its all-pervading lustre, at once fertile and purifying. Sensuality and light irradiate Elytis’s poetry. The perceptible world is vividly present and overwhelming in its wealth of freshness and astonishing experiences.
But through Elytis’s evocative verbal art, this world is also elevated to a symbolic reality. It becomes an ideal for the world that is not always so bright and true and wonderful, but which should be, and could be. We should always praise and worship this world for what it ought to be, and for what it, thereby, can be to us: a life-giving source of strength. Elytis’s extolling of existence, of man and his potentialities, and life in communion with the rest of creation, is no idealizing or illusory escapism. It is a moral act of invocation of the kind to be found so many times in Greek history, from the present-day struggles for freedom against fascist or other oppression far back through the centuries to the heroic phase of the classical era. What matters is not to submit. What matters is constantly to bear in mind what life should be, and what man can shape for himself in defiance of all that threatens to destroy him and violate him.
This is not political writing in the narrow sense of the word. It is a writing of preparedness, which aims at defending the moral integrity or pride that is essential if we are to be able to resist at all, and to endure hardships and dangers, outrage and adversity. These sides of Elytis’s poetry emerged strongly during the first years of the 1940s when he took part in the campaign in Albania against the fascist invasion. He passed through what he himself calls a crisis. Everything had to be tried out afresh – how to live, what the use of poetry was, how the beauty of poetry and art could serve in the fight for human dignity and resistance, yet preserve its freedom as art.
The poem, Heroic and Elegiac Song for the Lost Second Lieutenent of the Albanian Campaign was written during this war, most of it based on personal experience. It immediately evoked response and became a kind of generation document for the young. It has kept its position as an expression of the Greeks’ indomitable spirit of resistance. The fallen soldier is a representative of the Greeks who were killed in this war, but also of all those who have fallen during Greece’s long history of struggle for national liberty and individuality. Here, as so often in Elytis’s writing, realistic and mythical depiction are combined.
The Albanian campaign and the “heroic and elegiac song” about it were, in a way, a turning point for Elytis as a poet. His first verses had been published in the middle of the 1930s in a magazine which was then a forum for young writers, Nea Ghrámmata — in fact, a school for budding poets. The impulses from French surrealism, in particular, made themselves felt – in Elytis’s case, chiefly from Paul Éluard. Surrealism became a liberator. It helped the young writers to find themselves, not least, in relation to the great Greek classical tradition, which might threaten to become oppressive and to stagnate in stereotyped and rhetorical formulae. Elytis’s first poems, before Heroic and Elegiac Song, are youthfully sensual, full of light, brilliant, and very evocative in their visual and charming freshness. They quickly established him as one of the leading new Greek poets.
With Herioc and Elegiac Song, however, other sides of the writer emerged and insisted on becoming part of his creative world – sides which had been there from the outset but which now demanded more room: the tragic and the heroic. In the poetic cycle which many regard as Elytis’s foremost work, To áxion estí (Worthy It Is ), these very complex experiences and programs have been given a form which makes this work one of 20th century literature’s most concentrated and richly-faceted poems. The cycle is a kind of lyric drama or myth with strains from Hesiod, the Bible and Byzantine hymns. In its severe and polyphonic structure it is also linked to the avant-gardism of modern western writing. The cycle begins almost as drama of creation, concerning not only the poet himself, but, through him, us all. For, Elytis says, “I do not speak about myself. I speak for anyone who feels like myself but does not have enough naiveté to confess it.” But it is also about the origin of Greece, in fact of the world. Then follows an architecturally complicated section with descriptions of the war and other scourges that have afflicted Greece and modern man. After this section, which represents a crisis or path of suffering, comes a concluding part, the actual song of praise; mature man is tempered and strengthened through his experiences but also fortified in his indomitable and defiant will to defend life and its sensuous abundance.
In one of his short essays, Elytis sums up his intentions: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraints, and the justice which could be identified with absolute light…”
In its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’s poetry give a shape to its distinctiveness,which is not only very personal but also represents the traditions of the Greek people.
Bio-bibliographical notes
Odysseus Elytis, pen-name for Odysseus Alepoudhiéis, was born in 1911 at Herakleion in Crete. The family, which originally came from Lesbos, moved in 1914 to Athens, where Elytis, after leaving school, began to read law. He broke off his studies, however, and devoted himself entirely to his literary and artistic interests. He got to know the foremost advocate in Greece of surrealism, the poet Andreas Embirikos, who became his lifelong friend. As time went on impulses from Embirikos and others became merged with Elytis’ Greek-Byzantine cultural tradition. In 1935 he published his first poems in the magazine Nea Ghrámmata (New Letters) and also took part – with collages – in the first international surrealist exhibition arranged that year in Athens. In 1936 and 1937, in the magazine Makedhonikés Iméres (Macedonian Days) followed a collection of poems with the title Prosanatolizmoí (Orientations), in book form 1939, I klepsídhres tou aghnóstou (Hourglass of the Unknown) and, in 1943, Ilios o prótos (Sun the First).
Deeply felt experiences from the war lie behind the work that made Elytis famous as one of the most prominent poets of the Greek resistance and struggle for freedom: Ásma iroikó ke pénthimo yia ton haméno anthipolohaghó tis Alvanías (Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign) 1945.
After the war Elytis was engaged in various public assignments (among other things he was head of programs at the radio) and, apart from literary and art criticism, published very little for more than ten years. The work begun in 1948, To Áxion Estí (Worthy It Is), did not appear until 1959. The years 1948-52 he spent in Paris and travelling. He came in close contact with writers like Breton, Eluard, Char, Jouve and Michaux and with artists such as Matisse, Picasso and Giacometti. The poetic cycle To Áxion Estí (with introductory words taken from the Greek-Orthodox liturgy) has come to be recognized as Elytis’s greatest work. It has been translated into several languages and in 1960 was awarded the National Prize in Poetry. It was set to music by Míkis Theodorákis in 1964.
Of later works – in several cases illustrated by the author himself or by his friends Picasso, Matisse, Ghika, Tsarouchis and others – can be mentioned: Exi ke miá típsis yia ton uranó (Six and One Remorses for the Sky) 1960, O ílios o iliátoras (The Sovereign Sun) and To monoghramma (The Monogram), both 1971, Ta ro tou érota (The Ro of Eros) 1972, Villa Natacha 1973, Maria Neféli 1979, and the collection of essays with a personal touch Anihtá hártia (Open Book) 1974. “Selected Writings;” (with collages by the author) recently appeared, and no less than three entirely new works await publication.
For many years past translations of Elytis’s poems have been printed in literary magazines and anthologies, but are also to be had in a number of separate volumes:
In English:
The Sovereign Sun: Selected poems. Kimon Friar, transl. Philadelphia: Temple Univ. Press, 1974.
The Axion Esti (bilingual ed.) Edmund Keeley Georges Savidis, transl. Pittsburgh: Univ. of Pittsburgh Press, 1974.
In French:
Six plus un remords pour le ciel. Texte francais de F.B. Mache. Montpellier: Fata Morgana, 1977.
In Italian:
Poesie. Trad. Mario Vitti. Roma 1952.
21 poesie. Trad. Vincenzo Rotolo. Palermo: Ist. Siciliano di Studi Bizantini e Neoellenici, 1968.
In German:
Korper des Sommers. Auagewahlte Gedichte. Neugriechisch u. deutsch. Uebertr. Antigone Kasolea u. Barbara Schlorb. St. Gallen: Tschudy Verlag 1960.
Sieben nachtliche Siebeneeiler. Griechisch-Deutsch. Uebertr. Gunter Dietz. Darmstadt: J.G. Blaschke Verlag, 1966.
To Axion Esti-Gepriesen Sei.Uebetr. Gunter Dietz. Hamburg: Claassen Verlag, 1969.
As well as in most of the above works Elytis is presented in detail in the magazine Books Abroad (Univ. of Oklahoma), vol. 49 (1975), No. 4 (Autumn).
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"Odysseus Elytis"
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“I LIVED THE BELOVED NAME...”I lived the beloved nameIn the shade of the aged olive treeIn the roaring of the lifelong seaThose who stoned me live no longerWith their stones I b...
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“I LIVED THE BELOVED NAME...”
I lived the beloved name
In the shade of the aged olive tree
In the roaring of the lifelong sea
Those who stoned me live no longer
With their stones I built a fountain
To its brink green girls come
Their lips descend from the dawn
Their hair unwinds far into the future
Swallows come, infants of the wind
They drink, they fly, so that life goes on
The threat of the dream becomes a dream
Pain rounds the good cape
No voice is lost in the breast of the sky
O deathless sea, tell what you are whispering
I reach your morning mouth early
On the peak where your love appears
I see the will of the night spilling stars
The will of the day nipping the earth’s shoots
I saw a thousand wild lilies on the meadows of life
A thousand children in the true wind
Beautiful strong children who breathe out kindness
And know how to gaze at the deep horizons
When music raises the islands
I carved the beloved name
In the shade of the aged olive tree
In the roaring of the lifelong sea.
From: Sun the first
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https://www.nobelprize.org/prizes/literature/1979/ceremony-speech/
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Award ceremony speech
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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https://www.nobelprize.org/prizes/literature/1979/ceremony-speech/
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Presentation Speech by Doctor Karl Ragnar Gierow, of the Swedish Academy.
Translation from the Swedish text
Your Majesties, Your Royal Highnesses, Ladies and Gentlemen,
When Giorgos Seferis, compatriot of this year’s Nobel prizewinner in literature, came here in 1963 to receive the same award, he presented at the airport a bunch of hyacinths each to the then Secretary of the Swedish Academy and to its officiating director that winter as a greeting to their respective wives. He had picked them himself on Hymettus, the mountain a few miles east of Athens where Aphrodite had her miraculous spring and where, ever since antiquity, hyacinths grow wild in a profusion which makes the whole mountain smell of honey.
The episode comes naturally to mind now that we have the pleasure of welcoming Odysseus Elytis, the Greek writer who in his youth made his name with the collection The Concert of Hyacinths, in which he calls to his beloved: “Take with you the light of hyacinths and baptize it in the wellspring of day” and assures her that “when you glitter in the sun that on you glides waterdrops, and deathless hyacinths, and silences, I proclaim you the only reality.”
But there is a more immediate reason today to think of the chivalrous gesture in the inhospitable sleet of the airport. The hyacinths Seferis gave us were not at all like those we are accustomed to see. And, freshly picked as they were, they became symbols not only of the climatic difference between the giver’s sunny south and our snowy north. If Odysseus Elytis, the author of The Concert of Hyacinths, had wished to use that flower as one of the analogies between environment and perception that are an essential part of his cultural outlook, he could have said that our potplants are a west-European rationalization of something which in his country grows wild, thereby acquiring its everlasting beauty. To this beauty he has devoted most of what he has written, and a recurrent theme is the prevalent west-European misconception of all that goes to make up the distinctive world of ideas whose legitimate heir he is.
He has arrived at his critical view of our all too rationalistic picture of Greece, which he traces back to the Renaissance’s ideal of antiquity, by his own familiarity with western Europe’s poetry, art and way of thinking. It may seem like a paradox – one which he himself has pointed out-that it was this western Europe, branded by him for its sterile rationalism, which gave Elytis the impulse that all at once set free his own writing: surrealism, which cannot be said to exaggerate reason.
The paradox is, if not apparent, at any rate not entirely unusual. Like a rebellious pulse of exuberant life surrealism broke through the hardened arteries of calcified forms. Outside France too poetry was dominated by a school which called itself “Les Parnassiens” but which never reached even the foot of Parnassus, if we share Elytis’s view of what Greece has been and still is. But also on the Greek Parnassus of that time sat the same connoisseurs of degeneration who, in ornate words, declared their pessimistic conviction that nothing in this world was worth anything except their ability to express perfectly this very thought. If such an atmosphere is to be called captivating, surrealism came as a liberation, a religious revival, even if the sign of the saved here and there was a mere speaking with tongues.
But much of the best that happens when an art form is rejuvenated is not the result of a definite program but the fruit of an unforeseen cross. For Greek poetry the contact with surrealism meant a flowering which allows us to call the last fifty years Hellas’s second highwater mark. In none of the numerous important poets who have created this age of greatness can we see more clearly than in Elytis what this vigorous cross signified: the exciting meeting between epoch-making modernism and inherited myth.
A cursory presentation of a poet hard to understand should, then, first establish his relationship to these two components – surrealism and myth. The task is not as easy as it looks. We have his own word for it: “I considered surrealism,” he says on the one hand, “as the last available oxygen in a dying world, dying, at least, in Europe.” On the other hand he states definitely: “I never was a disciple of the surrealist school.” Nor was he. Elytis will have nothing to do with its fundamental poetry, the automatic writing with its unchecked torrent of chance associations. His explorations in poetry’s means of expression lead him to surrealism’s antipodes. Even if its violent display of unproven combinations released his own writing, he is a man of strict form, the master of deliberate creation.
Read his To Axion Estí, by many regarded as his most representative work. With its painstaking composition and stately rhetoric it leaves not one syllable to chance. Or take his love poem Monogram, with its ingenious mathematical basis; it has few counterparts in the literature we know. It comprises seven songs, each with seven lines or multiples of seven in a rising scale 7-2 l-35 up to the middle song’s culmination of 49, where the poem turns round and descends the staircase with exactly the same number of lines, 35-21 – down to the final song’s 7, the starting point. This is nothing that need worry the poem’s readers; it has its beauty without our having to count its steps. But poetry with this structure like an Euclidean linear drawing does not take after surrealism’s écriture automatique.
Elytis’s relationship to the other component, to Greek myth, also calls for clarification. We are used to seeing Greece’s treasure of myths melted down and remoulded to contemporary west-European patterns. We have an Antigone à la Racine, an Antigone à la Anouilh and we shall have more. For Elytis such treatment is odious, a rationalistic pot-cultivation of wildflowers. He himself writes no Antigone à la Breton. He imitates no myths at all and attacks those compatriots who do. In this world of ideas he also has his share of responsibility, though his writing is a repetition not of ancient tales from the Greek past but of the way in which myths are produced.
He sees his Greece with its glorious traditions, its mountains whose peaks with their very names remind us how high the human spirit has attained, and its waters the Aegean Sea, Elytis’s home, whose waves for thousands of years have washed ashore the riches that the West has been able to gather in and pride itself on. For him this Greece is still a living, ever-active myth, and he depicts it just as the old mythmakers did, by personifying it and giving it human form. It lends a sensuous nearness to his visions, and the myth that is the creed of his poetry is incarnated by beautiful young people in an enchanting landscape who love life and each other in dazzling sunshine where the waves break on the shore.
We can call this an optimistic idealization and, despite the concreteness, a flight from the present moment and reality. Elytis’s very language, ritually solemn, is constantly striving to get away from everyday life with its pettiness. The idealization explains both the rapture and the criticism that his poetry has aroused. Elytis himself has given his view of the matter, point by point. Greek as a language, he says, opposes a pessimistic description of life, and for la poésie maudite it has no expressions. For west- Europeans all mysticism is associated with the darkness and the night, but for the Greeks light is the great mystery and every radiant day its recurrent miracle. The sun, the sea and love are the basic and purifying elements.
Those who maintain that all true poetry must be a reflection of its age and a political act he can refer to his harrowing poem about the second lieutenant who fell in the Albanian war. Elytis, himself a second lieutenant, chanced to be one of the two officers who opened the secret order of general mobilization. He took part at the front in the passionate and hopeless fight against Mussolini’s crushing superiority, and his lament over the fallen brother-in-arms, who personifies Greece’s never-completed struggle for existence, is committed poetry in a much more literal and harsher sense than that familiar to those who usually clamour for literature’s commitment.
Elytis’s conclusions from his participation were of a different nature. The poet, he says, does not necessarily have to express his time. He can also heroically defy it. His calling is not to jot down items about our daily life with its social and political situations and private griefs. On the contrary, his only way leads “from what is to what may be”. In its essence, therefore, Elytis’s poetry is not logically clear as we see it but derives its light from the limpidity of the present moment against a perspective behind it. His myth has its roots by the Aegean Sea, which was his cradle, but the myth is about humanity, drawing its nourishment not from a vanished golden age but from one which can never be realized. It is pointless to call this either optimism or pessimism. For, if I have understood him aright, only our future is worth bearing in mind and the unattainable alone is worth striving for.
Cher Maitre,
Malheureusement, mais sans doute au soulagement de l’auditoire, je ne parle pas votre langue. Pour employer la locution anglaise spécifique à quelque chose d’etrange: “It’s Greek to me”. Mais votre poésie n’est certainement pas étrangère, portée par la mer, qui est en même temps la mere de la civilisation européenne. Dans cette descendance nous mettons notre gloire, et, par consequent, il faut que je contredise votre diagnostic de notre état deplorable. Ce dont nous sommes atteints, ce n’est pas du tout d’un excès de rationalisme. Au contraire, la maladie de l’Europe occidentale c’est justement que le rationalisme est rationné. Et le peu que nous en détenons encore, ce ne sont pas les devoirs que nous ont donnés à apprendre nos philosophes de la renaissance. La sagesse claire et la logique pure de Platon et d’Aristote, peut-être aussi de Protagoras, de Gorgias et de Socrate lui-même, voilà les racines du rationalisme, dont nous ne voyons aujourd’hui que les épaves pitoyables.
Néanmoins Socrate, quand la raison ne lui donnait pas de gouverne, a écouté la voix de son daimon, et, cher maître, c’est avec une admiration très profonde que nous avons écouté se faire entendre en votre poésie la même voix de mystère, le daimonde votre pays.
J’ai grand plaisir à vous transmettre les felicitations les plus cordiales de l’Académie suédoise et à vous demander de recevoir des mains de Sa Majesté le Roi le Prix Nobel de litérature de cette année.
From Nobel Lectures, Literature 1968-1980, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1993
Copyright © The Nobel Foundation 1979
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Elytis, Odysseus
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Odysseus ElytisBORN: 1911, Heraklion, Crete, GreeceDIED: 1996, Athens, GreeceNATIONALITY: GreekGENRE: Poetry, nonfictionMAJOR WORKS:Orientations (1939)The Axion Esti (1959)Maria Nefeli (1978)The Little Mariner (1988)West of Sadness (1995) Source for information on Elytis, Odysseus: Gale Contextual Encyclopedia of World Literature dictionary.
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Odysseus Elytis
BORN: 1911, Heraklion, Crete, Greece
DIED: 1996, Athens, Greece
NATIONALITY: Greek
GENRE: Poetry, nonfiction
MAJOR WORKS:
Orientations (1939)
The Axion Esti (1959)
Maria Nefeli (1978)
The Little Mariner (1988)
West of Sadness (1995)
Overview
An internationally acclaimed poet who is considered among the foremost Greek literary figures of the twentieth century, Odysseus Elytis celebrated the splendors of nature while affirming humanity's ability to embrace hope over despair. Combining his interest in surrealism with lyrical evocations of Greek landscape, history, and culture, Elytis created poems that exalt the virtues of sensuality, innocence, and imagination while striving to reconcile these attributes with life's tragic aspects. A recipient of the 1979 Nobel Prize in Literature, Elytis was cited by the Swedish Academy for writing “poetry which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativity.”
Works in Biographical and Historical Context
Childhood Summers by the Sea The youngest of six children, Elytis was born in Heraklion, Crete, to a wealthy industrialist and his wife. He attended primary and secondary schools in Athens before enrolling at the University of Athens School of Law. As a youth, Elytis spent his summer vacations on the Aegean Islands, absorbing the seaside atmosphere that deeply informs the imagery of his verse. Also essential to Elytis's poetic development was his attraction to surrealism, which he developed during the late 1920s through the works of French poet Paul Éluard.
Artistic Awakening In 1935, after leaving law school, Elytis displayed several visual collages at the First International Surrealist Exhibition in Athens and began publishing poems in various Greek periodicals. His first collection of verse, Orientations, focuses on the beauty of the Aegean landscape. These poems also display Elytis's affinity for such surrealistic devices as the portrayal of supernatural occurrences, exploration of the unconscious, and personification of abstract ideas and natural phenomena. In his next volume, Sun the First, Elytis confirmed his predilection for examining nature's intrinsic relationship with human spirituality.
Reflections of War in Poetry During World War II, Italy and Germany were allied. Italy's dictator, Benito Mussolini, grew anxious to emulate the territorial expansion of Germany's leader Adolf Hitler, and resolved to seized Greece. During the Italian invasion of Greece in 1940 and 1941, Elytis served on the Albanian front as a second lieutenant in Greece's First Army Corps. The heroism he witnessed amid the tragedy and suffering of combat is reflected in his long poem Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign. Centering on the death of a young Greek soldier whose transfiguration and resurrection serves as an affirmation of justice and liberty, this work advances Elytis's concerns with the merging of physical and spiritual existence and pays tribute to those individuals who resist oppression and defend freedom.
Immersion in Civic and Cultural Affairs Following the publication of Heroic and Elegiac Song, Elytis ceased producing poetry for more than a decade, immersing himself in civic and cultural affairs. From 1948 to 1953, during a period of civil war and subsequent civil unrest in Greece, Elytis lived in Paris, where he studied at the Sorbonne and wrote articles in French for Verve magazine. Several years after returning to Greece, Elytis published The Axion Esti, an intricately structured cycle alternating prose and verse. Indebted for much of its tone, language, symbolism, and structure to the liturgy of the Greek Orthodox Church, The Axion Esti incorporates elements of Christianity and images of Grecian landscapes and culture while augmenting Elytis's concern for the spirituality of the material world.
In the 1960s, translators abroad began to take notice of Elytis's poetry, and translations of his poems appeared in German, English, Italian, and French. During this period, Elytis traveled extensively. In 1961 he journeyed to the United States as a guest of the State Department; in 1962 he visited the Soviet Union; in 1965 he toured Bulgaria; in 1967, just before the military coup, he visited Egypt; and in 1969 he moved to Paris.
1979 Nobel Prize in Literature In 1975 Elytis was offered an honorary doctorate from the Philosophical School of the University of Thessaloníki, and he was proclaimed an honorary citizen of Lesbos. In 1979 he was proclaimed an honorary citizen of Heracleion, Crete. In 1975 Books Abroad dedicated an entire issue to his poetry. The greatest surprise for the poet, however, came in October 1979, when the secretary of the Swedish Academy announced the awarding of the 1979 Nobel Prize in Literature to Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness.” Other candidates for the 1979 Nobel Prize in Literature included Graham Greene, Jorge Luis Borges, Gabriel García Márquez, and Simone de Beauvoir. The announcement was received with tremendous enthusiasm in Greece.
Post-Nobel Popularity Elytis lived and continued to create for seventeen years after receiving the Nobel Prize
in Literature. His post-Nobel popularity kept him busy. The few years that immediately followed the Nobel presentation were spent almost entirely on award receptions, presentations, and speeches around the globe. In 1980 he was presented with an honorary doctorate from the Sorbonne in France, and in 1981 he received an honorary doctorate from the University of London. He was also declared an honorary citizen of Larnaca and Paphos (Cyprus), and he was invited by the Spanish prime minister Adolfo Suárez González to visit Spain, where he was declared an honorary citizen of Toledo (in the fall of 1980). The Royal Society of Literature (United Kingdom) presented him with the Benson Medal in 1981, an award given as lifetime recognition in poetry, fiction, history, and belles lettres. Also in 1981, Rutgers University, in the United States, established the Elytis Chair of Modern Greek Studies in honor of the poet, and in March 1982 he was presented, by Mayor D. Beis of Athens, with the Gold Medal of Honor of the City of Athens. During the 1980s Elytis published three collections of poetry: Tria Poiîmata me sîmaia Eykairias (1982, Three Poems Under a Flag of Convenience), Îmerologio enos Atheatou Apriliou (1984; translated as Journal of an Unseen April, 1998), and O Mikros Nautilos (1986; translated as The Little Mariner, 1999).
West of Sadness Elytis's final collection, Dytika tîs Lypîs (1995, translated West of Sadness) was written in the summer of 1995 in Porto Rafti, Greece, where the poet was vacationing with fellow poet Ioulita Iliopoulou, who had been his partner for about a decade (he had never married nor had children). The seven poems of the collection are “more dense,” as Elytis wrote, “and for this reason more difficult, but closer to my ideal.” The title of the collection signals its mood: on one hand, the life of the eighty-three-year-old poet is moving westward toward its setting; but on the other hand, it also moves “west of sorrow,” that is, beyond where sorrow itself sets. The biographical events in the poet's life are insignificant: “what remains,” the collection concludes, “is poetry alone.”
Elytis died of a stroke in his apartment in Athens on March 18, 1996. A posthumous collection titled Ek tou Plîsion (From Nearby) was put together by his heir, Iliopoulou, and was published in 1998.
Works in Literary Context
Elytis's poetry is often read in the context of surrealism, the artistic movement known for its rejection of objective reality. Indeed, he is the translator of numerous surrealist texts into Greek and has written extensively on the subject, many of these essays collected in the volume The Open Book. Significantly, in 1991 an exhibition of Greek poetry and painting, including work by Elytis, was staged at the Georges Pompidou Centre Paris, titled “Surrealist Greeks.” This title is especially accurate in describing Elytis, because although Elytis's work does incorporate many of the elements of surrealism, it is equally important to remember where Elytis comes from, as he infuses his writing with the rich culture, heritage, landscapes, and literary traditions of his native Greece.
“Greek Reality” Although Elytis engages with contemporary surrealism in his poems, it would be misleading to exaggerate the extent of the poet's commitment to any movement. Even in the early verse, surrealism is adapted (to borrow Elytis's own term) as the poet confronts “Greek reality,” drawing upon the resources of a native poetic tradition. In fact Elytis has been outspoken in stressing his intimate poetic relationship to Greek literary figures as diverse as Andreas Kalvos (1946) and Alexandros Papadiamantis (1976). Moreover, echoes from Greek folk poetry, Byzantine hymns, and liturgical texts reverberate through his poetry. As Elytis remarked in his Nobel acceptance speech in 1979, the poet must simultaneously “recast the elements to the social and psychological requirements of [his] age.” Echoes from the German poets Friedreich Holderlin and Novalis interact with allusions to the national Greek poet Dionysios Solomos.
LITERARY AND HISTORICAL CONTEMPORARIES
Elytis's famous contemporaries include:
George Seferis (1900–1971): Greek poet who became the first Greek to win the Nobel Prize in Literature in 1963.
Mikis Theodorakis (1925–): One of Greece's best-known composers, Theodorakis scored films such as Zorba the Greek (1969) and Serpico (1973), and also put Elytis's The Axion Esti to music.
Panagiotis Kanellopoulos (1902–1986): Greek author and politician who briefly served as prime minister of Greece twice, in 1945 and in 1967.
André Breton (1896–1966): French writer often credited as the main founder of the surrealist movement.
PaulÉluard (1895–1952): This French poet, partially influenced by the American author Walt Whitman, was associated with the founding of the surrealist movement.
Surrealism and the Free Association of Ideas Elytis adapted only selected principles of surrealism to his Greek reality. Some other characteristics of surrealism, such as automatic writing, were considered unacceptable to Elytis. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood
of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Orientations, published in 1936, was Elytis's first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis's work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
Popularity Today Resists Classification Odysseus Elytis's popularity in Greece remains astounding. He became a national commodity after the Nobel Prize, as evident in a continuous inclusion of his name in cultural and national symbolism: More than a dozen streets in Greece and Cyprus are named after him; a life-size statue sculpted by Yiannis Papas was placed in one of Kolonaki's most central squares (Plateia Dexamenis); and a cruise ship, a theater on the island of Ios, and a hotel in Thessaly have all been given his name. Biographical information and scattered lines from his poetry adorn tourist pamphlets enticing visitors to travel to the Greek islands. Such cultural incorporation comes as a stark contrast not only in relation to the deeper essence of his poetry but also to the ascetic life he had led in his small apartment. Elytis's poetry clearly resists superficial classifications. His multifaceted style of writing, along with his lucid theoretical formulations, earned him an enduring place in modern Greek literature.
Works in Critical Context
When Maria Nefeli was first published in 1978, it met with a curious yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti,” and for that reason viewed this new work as “an experimental and not-so-attractive creation of rather ephemeral value.”
The Eternal Female The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet … not directly [transcribing] actual events,” as he once stated, Maria Nefeli is based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis's poem has changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis's youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blasé representative of today's young woman…. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
COMMON HUMAN EXPERIENCE
Surrealism is often remembered as a movement in the visual arts—painting, in particular. But as its striking images and the way the juxtaposition of seemingly unrelated images impressed viewers of the visual arts in the early years of the movement, it is easy to forget that surrealists developed out of a literary school—the Dadaist school—that emphasized sound over reason in their poems. Here are a few more works of surrealism that were produced at the time Elytis worked in the form:
The Magnetic Fields (1920), a novel by André Breton and Philippe Soupault. This work is considered the first surrealist novel because its authors utilized the “automatic writing” technique characteristic of surrealism. In “automatic writing,” a writer attempts to write continuously while purposely trying not to think about the words he or she is writing.
Night of Loveless Nights (1926), a poem by Robert Desnos. Desnos is considered one of the founding fathers of literary surrealism, and this extended poem about unrequited love is one of his finest.
Le Paysan de Paris (1926), a surrealist text by Louis Aragon. This work represents a loving portrayal of the places and people that make up the surrealist movement—a kind of literary portrait—written at the peak of surrealism's influence.
The Persistence of Memory (1931), a painting by Salvador Dalí. In this surrealist work, clocks are depicted as melting and hanging over a tree, a horse, and a desk, thereby exemplifying surrealism's interest in juxtapositions of unlikely images
Lyrical Humanism Despite the initial reservations voiced by some critics, Maria Nefeli has come to be regarded as the best of Elytis's later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Responses to Literature
Surrealism is a fairly unique artistic movement insofar as it has influenced artists of various media, including both visual and literary arts. Read Elytis's Orientations and look at Salvador Dali's The Persistence of Memory. In what ways do both works use surrealist elements similarly? In what ways do the two works display different surrealist traits?
Read The Axion Esti. This text has been said to be indebted to the Greek Orthodox Church. How does Elytis use the themes and language of the church in these poems, either to evoke a tradition or to critique that tradition? In your response, make sure to cite specific passages from Elytis's work to support your claim.
Many authors who otherwise were in tune with the artistic ideals of surrealism eventually moved away from the movement because of its communist ethics. Using the Internet and the library, research the surrealist movement's relationship to communism. Then, in a short essay, analyze how surrealist authors—including but not limited to Elytis—and artists use their work to support or refute communist ideals.
Elytis loved his home country of Greece and wanted to express its beauty through his poems. Because of the effectiveness of these poems in expressing the beauty of Greece and the Aegean Sea, Elytis has been called a “sun-drinking” poet. Think about your own hometown. If you were a poet who was interested in describing the physical terrain and culture of your hometown, what would critics call you? Why? In order to answer these questions, you might try writing a few lines of verse in honor of your hometown to get you going.
BIBLIOGRAPHY
Books
Decavalles, Andonis. Odysseus Elytis: From the Golden to the Silver Poem. New York: Pella, 1994.
Demou, Nikos. Odysseus Elytis. Athens: Ekdoseis Nefeli, 1992.
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There are Word People, and then there are Word Giants! Each year, one writer receives the Nobel Prize for Literature. Take a minute to review this list of all the past recipients of writing’s most prestigious award. Did your favorite author make the grade? 2019 Nobel Prize in Literature Peter Handke “for an influential work that ... Read more
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https://proedit.com/wp-content/uploads/2020/07/ProEdit-Logo-Mark_White-Circle.ico
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ProEdit
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https://proedit.com/word-people-nobel-prize-for-literature-recipients/
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There are Word People, and then there are Word Giants! Each year, one writer receives the Nobel Prize for Literature. Take a minute to review this list of all the past recipients of writing’s most prestigious award. Did your favorite author make the grade?
Source: NobelPrize.org
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correct_award_00067
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FactBench
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1
| 95
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https://www.athenskey.com/3-greek-poets.html
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en
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3 Greek Poets
|
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3 Greek Poets
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en
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The Athens Key
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https://www.athenskey.com/3-greek-poets.html
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Three Greek Poets
C. P. Cavafy
C. P. Cavafy (1863-1933) is widely considered the most distinguished Greek poet of the 20th c. He was born in Alexandria, Egypt, where his Greek parents had settled in the mid-1850s. Cavafy’s father was an importer-exporter whose business responsibilities frequently led him to the port city of Liverpool, England. In 1882, His mother, sensing danger, moved to Constantinople with Cavafy and the rest of her children. When the British bombarded Alexandria, the Cavafy family home was destroyed, and all of Cavafy’s papers and books were lost. Cavafy remained in Constantinople with his mother until 1885. At this time, Cavafy was writing poems, preparing for a career, and discovering his queerness, which would inform much of his later poetry. Cavafy eventually joined his older brothers in Alexandria and found work as a newspaper correspondent. In the late 1880s he obtained a position as his brother’s assistant at the Egyptian Stock Exchange, and he worked there for a few years before becoming a clerk at the Ministry of Public Works. He stayed at the ministry for the next 30 years, eventually becoming its assistant director. In 1933, 11 years after leaving the ministry, he died of cancer. During his lifetime Cavafy was an obscure poet, living in relative seclusion and publishing little of his work. A short collection of his poetry was privately printed in the early 1900s and reprinted with new verse a few years later, but that was the extent of his published poetry. Instead, Cavafy chose to circulate his verse among friends. This lack of concern for publication was due, perhaps, to the highly personal nature of many poems. Cavafy, who was gay, wrote many sexually explicit poems. Cavafy was also an avid student of history, particularly ancient civilizations, and in a great number of poems he subjectively rendered life during the Greek and Roman empires.
As a stylist Cavafy was atypical. His language was flat, his delivery direct, whether he was writing about mortality, beauty, or despair; and whether he was writing about eroticism, the past, or the anxiety-inducing present. Among Cavafy’s most acclaimed poems is “Waiting for the Barbarians,” in which leaders in ancient Greece prepare to yield their land to barbarians only to discover that the barbarians, so necessary to political and social change, no longer exist. In “Ithaca,” another of Cavafy’s highly regarded works, the poet evokes Homer’s Odyssey in stressing the importance of the journey over the destination. And in poems such as “The Battle of Magnesia” and “To Antiochus of Epiphanes,” Cavafy emphasizes that decadence in a civilization leads to its destruction. Cavafy’s more erotic poems treat themes similar to those addressed in his historical verses. Ultimately, Cavafy’s erotic poems and historical verse are products of a singular vision, one which explores, in various ways, the gratifications, and ramifications, of the pursuit of pleasure. Eroticism, history, and death are all part of what George Seferis, writing in On the Greek Style, calls “Cavafy’s panorama,” and he observes, “All these things together make up the experience of his sensibility—uniform, contemporary, simultaneous, expressed by his historical self.”
Odysseus Elytis
Nobel laureate Greek poet Odysseus Elytis (1911-1996) was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, of a wealthy family of soap manufacturers. He later changed his surname to reflect those things he most treasured. Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. Although the Swedish Academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness ... [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.” Elytis’ poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974). Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood of a morning takes on the form of a tree. Prosanatolizmi (Orientations), published in 1936, was Elytis’ first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
Elytis’ To axion esti (1959, translated as Worthy It Is, 1974), came after a period of more than 10 years of silence. Widely held to be his masterpiece, it is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy. As in his other writings, Elytis depicted the Greek reality through an intensely personal tone. After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece. The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. The Axion Esti is probably the most widely read volume of verse to have appeared in Greece since World War II and remains a classic today. Those who follow the music of Greek composer Mikis Theodorakis have been especially drawn to Odysseus Elytis' work, his prose is widely considered a mirror to the revolutionary music of Theodorakis. The "autobiographical" elements are constantly colored by allusion to the history of Greece, thus, the poems express a contemporary consciousness fully resonant with those echoes of the past that have served most to shape the modern Greek experience.
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correct_award_00067
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FactBench
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3
| 0
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https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
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en
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Odysseus Elytis – Facts
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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en
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/elytis/facts/
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Odysseus Elytis
The Nobel Prize in Literature 1979
Residence at the time of the award: Greece
Prize motivation: “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness”
Language: Greek
Prize share: 1/1
Life
Odysseus Elytis was born in 1911 on the Greek island of Crete. The family later moved to Athens. After finishing his secondary school studies there, Elytis studied law at the University of Athens. He immediately attracted attention when he published his poems in the magazine Nea Grammata (New Culture) in the 1930s. Elytis took part in World War II, fighting against Mussolini’s troops in Albania. When the Greek military junta seized power in his native country in 1967, he chose to take up residence in Paris, where he became acquainted with several artists and writers. When the dictatorship fell in 1974, he returned to Greece.
Work
In the poetry of Odysseus Elytis, influences of surrealism meet traditional Greek literature. The sun plays a central role in his early works. His poems celebrate light, the turquoise sea, the rocky landscape and the ancient ruins of Elytis’ native country. Elytis’ experiences during World War II introduced a darker element into his poetic world. One of his most prominent works is Axion esti (1959) (It Is Worthy), in which poetry and prose intermingle as in old Byzantine liturgy.
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correct_award_00067
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FactBench
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0
| 20
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https://www.bloodaxebooks.com/ecs/category/odysseus-elytis
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en
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Odysseus Elytis
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Odysseus Elytis (1911-96) was born on Crete. He was awarded the Nobel Prize in Literature in 1979. With Seferis and the 'Generation of the Thirties', he introduced French Surrealism into Greek poetry. First published by Bloodaxe in 1990, Kimon Friar’s translation The Sovereign Sun begins with his brilliantly sensuous early poems. It has large selections from his master work, Axion Esti (1959), and includes the whole of his Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign (1945). His Nobel Prize citation stated: ‘Against the background of Greek tradition, his poetry depicts with sensuous strength and clearsightedness modern man's struggle for freedom and creativeness.’
Books by Odysseus Elytis
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correct_award_00067
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FactBench
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3
| 22
|
https://uniquedestination.mitsishotels.com/articles/odysseas-elytis/
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en
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Unique Destination
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2019-04-01T06:13:43+00:00
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Unique Destination
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https://uniquedestination.mitsishotels.com/articles/odysseas-elytis/
|
Elytis was born in Heraklion on the island of Crete and his pen name was Odysseus Alepoudellis. Later his family settled permanently in Athens where the poet finished his secondary school studies and later visited the Law School of the Athens University. His first appearance as a poet in 1935 through the magazine “Nea Grammata” (“New Culture”) was saluted as an important event and the new style he introduced – though giving rise to a great many reactions – succeeded in prevailing and effectively contributing to the poetical reform commencing in the Second World War’s eve and going on up to our days.
He lived in Paris for a short time after the Greek military coup of 1967. His later works include Ho hēlios ho hēliatoras (1971; The Sovereign Sun), Ta eterothalē (1974; “The Stepchildren”), Ho mikros nautilos (1986; The Little Mariner), and Ta elegeia tis Oxopetras (1991; The Oxopetra Elegies). The Collected Poems of Odysseus Elytis (1997) is a volume of his poetry in English translation.
This romantic verse came from “The Axion Esti” (1959) written by Odysseas Elytis, one of the greatest poets of modern Greece. “Axion Esti” is inspired by the memories of the 1940-1941 war, the German occupation, the Greek resistance and the Greek Civil War that followed. However, Elytis gave a romantic shape, too.
Elytis has a living experience of all these crucial phases of the modern Greek history and understands them as aspects of the timeless siege of Greece by the forces of Evil. Axion Esti was made into a song and was generally enthusiastically received by the Greek readers and the literature critics. This did not happen only due to its artistic value, but also due to its operation as a fundamental work that redefined the Greek collective unconscious by elaborating repressed experiences and myths from the modern Greek history.
During his life (1911 – 1996), Elytis came in touch with significant Greek painters, poets and authors who influenced his artistic expression. His significance was highlighted when he awarded with a Nobel Prize in Literature in 1979. The choice of the Swedish Academy of Letters came as a surprise nonetheless.
His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
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FactBench
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2
| 81
|
https://www.somaliauthors.com/the-nobel-prize-1901-2019/
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en
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2022 – Welcome to the Official Portal of the Union of Somali National Authors (USNA)
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“for groundbreaking inventions in the field of laser physics”
Arthur Ashkin “for the optical tweezers and their application to biological systems”
Gérard Mourou and Donna Strickland “for their method of generating high-intensity, ultra-short optical pulses”
The Nobel Prize in Chemistry 2018
Frances H. Arnold “for the directed evolution of enzymes” and George P. Smith and Sir Gregory P. Winter “for the phage display of peptides and antibodies”
The Nobel Prize in Physiology or Medicine 2018
James P. Allison and Tasuku Honjo
“for their discovery of cancer therapy by inhibition of negative immune regulation”
The Nobel Prize in Literature 2018
The 2018 Nobel Prize in Literature has been postponed.
The Nobel Peace Prize 2018
Denis Mukwege and Nadia Murad
“for their efforts to end the use of sexual violence as a weapon of war and armed conflict”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2018
William D. Nordhaus “for integrating climate change into long-run macroeconomic analysis” and Paul M. Romer “for integrating technological innovations into long-run macroeconomic analysis”
2017
The Nobel Prize in Physics 2017
Rainer Weiss, Barry C. Barish and Kip S. Thorne
“for decisive contributions to the LIGO detector and the observation of gravitational waves”
The Nobel Prize in Chemistry 2017
Jacques Dubochet, Joachim Frank and Richard Henderson
“for developing cryo-electron microscopy for the high-resolution structure determination of biomolecules in solution”
The Nobel Prize in Physiology or Medicine 2017
Jeffrey C. Hall, Michael Rosbash and Michael W. Young
“for their discoveries of molecular mechanisms controlling the circadian rhythm”
The Nobel Prize in Literature 2017
Kazuo Ishiguro
“who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world”
The Nobel Peace Prize 2017
International Campaign to Abolish Nuclear Weapons (ICAN)
“for its work to draw attention to the catastrophic humanitarian consequences of any use of nuclear weapons and for its ground-breaking efforts to achieve a treaty-based prohibition of such weapons”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2017
Richard H. Thaler
“for his contributions to behavioural economics”
2016
The Nobel Prize in Physics 2016
David J. Thouless, F. Duncan M. Haldane and J. Michael Kosterlitz
“for theoretical discoveries of topological phase transitions and topological phases of matter”
The Nobel Prize in Chemistry 2016
Jean-Pierre Sauvage, Sir J. Fraser Stoddart and Bernard L. Feringa
“for the design and synthesis of molecular machines”
The Nobel Prize in Physiology or Medicine 2016
Yoshinori Ohsumi
“for his discoveries of mechanisms for autophagy”
The Nobel Prize in Literature 2016
Bob Dylan
“for having created new poetic expressions within the great American song tradition”
The Nobel Peace Prize 2016
Juan Manuel Santos
“for his resolute efforts to bring the country’s more than 50-year-long civil war to an end”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2016
Oliver Hart and Bengt Holmström
“for their contributions to contract theory”
2015
The Nobel Prize in Physics 2015
Takaaki Kajita and Arthur B. McDonald
“for the discovery of neutrino oscillations, which shows that neutrinos have mass”
The Nobel Prize in Chemistry 2015
Tomas Lindahl, Paul Modrich and Aziz Sancar
“for mechanistic studies of DNA repair”
The Nobel Prize in Physiology or Medicine 2015
William C. Campbell and Satoshi Ōmura
“for their discoveries concerning a novel therapy against infections caused by roundworm parasites”
Youyou Tu
“for her discoveries concerning a novel therapy against Malaria”
The Nobel Prize in Literature 2015
Svetlana Alexievich
“for her polyphonic writings, a monument to suffering and courage in our time”
The Nobel Peace Prize 2015
National Dialogue Quartet
“for its decisive contribution to the building of a pluralistic democracy in Tunisia in the wake of the Jasmine Revolution of 2011”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2015
Angus Deaton
“for his analysis of consumption, poverty, and welfare”
2014
The Nobel Prize in Physics 2014
Isamu Akasaki, Hiroshi Amano and Shuji Nakamura
“for the invention of efficient blue light-emitting diodes which has enabled bright and energy-saving white light sources”
The Nobel Prize in Chemistry 2014
Eric Betzig, Stefan W. Hell and William E. Moerner
“for the development of super-resolved fluorescence microscopy”
The Nobel Prize in Physiology or Medicine 2014
John O’Keefe, May-Britt Moser and Edvard I. Moser
“for their discoveries of cells that constitute a positioning system in the brain”
The Nobel Prize in Literature 2014
Patrick Modiano
“for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation”
The Nobel Peace Prize 2014
Kailash Satyarthi and Malala Yousafzai
“for their struggle against the suppression of children and young people and for the right of all children to education”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2014
Jean Tirole
“for his analysis of market power and regulation”
2013
The Nobel Prize in Physics 2013
François Englert and Peter W. Higgs
“for the theoretical discovery of a mechanism that contributes to our understanding of the origin of mass of subatomic particles, and which recently was confirmed through the discovery of the predicted fundamental particle, by the ATLAS and CMS experiments at CERN’s Large Hadron Collider”
The Nobel Prize in Chemistry 2013
Martin Karplus, Michael Levitt and Arieh Warshel
“for the development of multiscale models for complex chemical systems”
The Nobel Prize in Physiology or Medicine 2013
James E. Rothman, Randy W. Schekman and Thomas C. Südhof
“for their discoveries of machinery regulating vesicle traffic, a major transport system in our cells”
The Nobel Prize in Literature 2013
Alice Munro
“master of the contemporary short story”
The Nobel Peace Prize 2013
Organisation for the Prohibition of Chemical Weapons (OPCW)
“for its extensive efforts to eliminate chemical weapons”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2013
Eugene F. Fama, Lars Peter Hansen and Robert J. Shiller
“for their empirical analysis of asset prices”
2012
The Nobel Prize in Physics 2012
Serge Haroche and David J. Wineland
“for ground-breaking experimental methods that enable measuring and manipulation of individual quantum systems”
The Nobel Prize in Chemistry 2012
Robert J. Lefkowitz and Brian K. Kobilka
“for studies of G-protein-coupled receptors”
The Nobel Prize in Physiology or Medicine 2012
Sir John B. Gurdon and Shinya Yamanaka
“for the discovery that mature cells can be reprogrammed to become pluripotent”
The Nobel Prize in Literature 2012
Mo Yan
“who with hallucinatory realism merges folk tales, history and the contemporary”
The Nobel Peace Prize 2012
European Union (EU)
“for over six decades contributed to the advancement of peace and reconciliation, democracy and human rights in Europe”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2012
Alvin E. Roth and Lloyd S. Shapley
“for the theory of stable allocations and the practice of market design”
2011
The Nobel Prize in Physics 2011
Saul Perlmutter, Brian P. Schmidt and Adam G. Riess
“for the discovery of the accelerating expansion of the Universe through observations of distant supernovae”
The Nobel Prize in Chemistry 2011
Dan Shechtman
“for the discovery of quasicrystals”
The Nobel Prize in Physiology or Medicine 2011
Bruce A. Beutler and Jules A. Hoffmann
“for their discoveries concerning the activation of innate immunity”
Ralph M. Steinman
“for his discovery of the dendritic cell and its role in adaptive immunity”
The Nobel Prize in Literature 2011
Tomas Tranströmer
“because, through his condensed, translucent images, he gives us fresh access to reality”
The Nobel Peace Prize 2011
Ellen Johnson Sirleaf, Leymah Gbowee and Tawakkol Karman
“for their non-violent struggle for the safety of women and for women’s rights to full participation in peace-building work”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2011
Thomas J. Sargent and Christopher A. Sims
“for their empirical research on cause and effect in the macroeconomy”
2010
The Nobel Prize in Physics 2010
Andre Geim and Konstantin Novoselov
“for groundbreaking experiments regarding the two-dimensional material graphene”
The Nobel Prize in Chemistry 2010
Richard F. Heck, Ei-ichi Negishi and Akira Suzuki
“for palladium-catalyzed cross couplings in organic synthesis”
The Nobel Prize in Physiology or Medicine 2010
Robert G. Edwards
“for the development of in vitro fertilization”
The Nobel Prize in Literature 2010
Mario Vargas Llosa
“for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat”
The Nobel Peace Prize 2010
Liu Xiaobo
“for his long and non-violent struggle for fundamental human rights in China”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2010
Peter A. Diamond, Dale T. Mortensen and Christopher A. Pissarides
“for their analysis of markets with search frictions”
2009
The Nobel Prize in Physics 2009
Charles Kuen Kao
“for groundbreaking achievements concerning the transmission of light in fibers for optical communication”
Willard S. Boyle and George E. Smith
“for the invention of an imaging semiconductor circuit – the CCD sensor”
The Nobel Prize in Chemistry 2009
Venkatraman Ramakrishnan, Thomas A. Steitz and Ada E. Yonath
“for studies of the structure and function of the ribosome”
The Nobel Prize in Physiology or Medicine 2009
Elizabeth H. Blackburn, Carol W. Greider and Jack W. Szostak
“for the discovery of how chromosomes are protected by telomeres and the enzyme telomerase”
The Nobel Prize in Literature 2009
Herta Müller
“who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed”
The Nobel Peace Prize 2009
Barack H. Obama
“for his extraordinary efforts to strengthen international diplomacy and cooperation between peoples”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2009
Elinor Ostrom
“for her analysis of economic governance, especially the commons”
Oliver E. Williamson
“for his analysis of economic governance, especially the boundaries of the firm”
2008
The Nobel Prize in Physics 2008
Yoichiro Nambu
“for the discovery of the mechanism of spontaneous broken symmetry in subatomic physics”
Makoto Kobayashi and Toshihide Maskawa
“for the discovery of the origin of the broken symmetry which predicts the existence of at least three families of quarks in nature”
The Nobel Prize in Chemistry 2008
Osamu Shimomura, Martin Chalfie and Roger Y. Tsien
“for the discovery and development of the green fluorescent protein, GFP”
The Nobel Prize in Physiology or Medicine 2008
Harald zur Hausen
“for his discovery of human papilloma viruses causing cervical cancer”
Françoise Barré-Sinoussi and Luc Montagnier
“for their discovery of human immunodeficiency virus”
The Nobel Prize in Literature 2008
Jean-Marie Gustave Le Clézio
“author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization”
The Nobel Peace Prize 2008
Martti Ahtisaari
“for his important efforts, on several continents and over more than three decades, to resolve international conflicts”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2008
Paul Krugman
“for his analysis of trade patterns and location of economic activity”
2007
The Nobel Prize in Physics 2007
Albert Fert and Peter Grünberg
“for the discovery of Giant Magnetoresistance”
The Nobel Prize in Chemistry 2007
Gerhard Ertl
“for his studies of chemical processes on solid surfaces”
The Nobel Prize in Physiology or Medicine 2007
Mario R. Capecchi, Sir Martin J. Evans and Oliver Smithies
“for their discoveries of principles for introducing specific gene modifications in mice by the use of embryonic stem cells”
The Nobel Prize in Literature 2007
Doris Lessing
“that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”
The Nobel Peace Prize 2007
Intergovernmental Panel on Climate Change (IPCC) and Albert Arnold (Al) Gore Jr.
“for their efforts to build up and disseminate greater knowledge about man-made climate change, and to lay the foundations for the measures that are needed to counteract such change”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2007
Leonid Hurwicz, Eric S. Maskin and Roger B. Myerson
“for having laid the foundations of mechanism design theory”
2006
The Nobel Prize in Physics 2006
John C. Mather and George F. Smoot
“for their discovery of the blackbody form and anisotropy of the cosmic microwave background radiation”
The Nobel Prize in Chemistry 2006
Roger D. Kornberg
“for his studies of the molecular basis of eukaryotic transcription”
The Nobel Prize in Physiology or Medicine 2006
Andrew Z. Fire and Craig C. Mello
“for their discovery of RNA interference – gene silencing by double-stranded RNA”
The Nobel Prize in Literature 2006
Orhan Pamuk
“who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures”
The Nobel Peace Prize 2006
Muhammad Yunus and Grameen Bank
“for their efforts to create economic and social development from below”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2006
Edmund S. Phelps
“for his analysis of intertemporal tradeoffs in macroeconomic policy”
2005
The Nobel Prize in Physics 2005
Roy J. Glauber
“for his contribution to the quantum theory of optical coherence”
John L. Hall and Theodor W. Hänsch
“for their contributions to the development of laser-based precision spectroscopy, including the optical frequency comb technique”
The Nobel Prize in Chemistry 2005
Yves Chauvin, Robert H. Grubbs and Richard R. Schrock
“for the development of the metathesis method in organic synthesis”
The Nobel Prize in Physiology or Medicine 2005
Barry J. Marshall and J. Robin Warren
“for their discovery of the bacterium Helicobacter pylori and its role in gastritis and peptic ulcer disease”
The Nobel Prize in Literature 2005
Harold Pinter
“who in his plays uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms”
The Nobel Peace Prize 2005
International Atomic Energy Agency (IAEA) and Mohamed ElBaradei
“for their efforts to prevent nuclear energy from being used for military purposes and to ensure that nuclear energy for peaceful purposes is used in the safest possible way”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2005
Robert J. Aumann and Thomas C. Schelling
“for having enhanced our understanding of conflict and cooperation through game-theory analysis”
2004
The Nobel Prize in Physics 2004
David J. Gross, H. David Politzer and Frank Wilczek
“for the discovery of asymptotic freedom in the theory of the strong interaction”
The Nobel Prize in Chemistry 2004
Aaron Ciechanover, Avram Hershko and Irwin Rose
“for the discovery of ubiquitin-mediated protein degradation”
The Nobel Prize in Physiology or Medicine 2004
Richard Axel and Linda B. Buck
“for their discoveries of odorant receptors and the organization of the olfactory system”
The Nobel Prize in Literature 2004
Elfriede Jelinek
“for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power”
The Nobel Peace Prize 2004
Wangari Muta Maathai
“for her contribution to sustainable development, democracy and peace”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2004
Finn E. Kydland and Edward C. Prescott
“for their contributions to dynamic macroeconomics: the time consistency of economic policy and the driving forces behind business cycles”
2003
The Nobel Prize in Physics 2003
Alexei A. Abrikosov, Vitaly L. Ginzburg and Anthony J. Leggett
“for pioneering contributions to the theory of superconductors and superfluids”
The Nobel Prize in Chemistry 2003
“for discoveries concerning channels in cell membranes”
Peter Agre
“for the discovery of water channels”
Roderick MacKinnon
“for structural and mechanistic studies of ion channels”
The Nobel Prize in Physiology or Medicine 2003
Paul C. Lauterbur and Sir Peter Mansfield
“for their discoveries concerning magnetic resonance imaging”
The Nobel Prize in Literature 2003
John M. Coetzee
“who in innumerable guises portrays the surprising involvement of the outsider”
The Nobel Peace Prize 2003
Shirin Ebadi
“for her efforts for democracy and human rights. She has focused especially on the struggle for the rights of women and children”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2003
Robert F. Engle III
“for methods of analyzing economic time series with time-varying volatility (ARCH)”
Clive W.J. Granger
“for methods of analyzing economic time series with common trends (cointegration)”
2002
The Nobel Prize in Physics 2002
Raymond Davis Jr. and Masatoshi Koshiba
“for pioneering contributions to astrophysics, in particular for the detection of cosmic neutrinos”
Riccardo Giacconi
“for pioneering contributions to astrophysics, which have led to the discovery of cosmic X-ray sources”
The Nobel Prize in Chemistry 2002
“for the development of methods for identification and structure analyses of biological macromolecules”
John B. Fenn and Koichi Tanaka
“for their development of soft desorption ionisation methods for mass spectrometric analyses of biological macromolecules”
Kurt Wüthrich
“for his development of nuclear magnetic resonance spectroscopy for determining the three-dimensional structure of biological macromolecules in solution”
The Nobel Prize in Physiology or Medicine 2002
Sydney Brenner, H. Robert Horvitz and John E. Sulston
“for their discoveries concerning genetic regulation of organ development and programmed cell death’”
The Nobel Prize in Literature 2002
Imre Kertész
“for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”
The Nobel Peace Prize 2002
Jimmy Carter
“for his decades of untiring effort to find peaceful solutions to international conflicts, to advance democracy and human rights, and to promote economic and social development”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2002
Daniel Kahneman
“for having integrated insights from psychological research into economic science, especially concerning human judgment and decision-making under uncertainty”
Vernon L. Smith
“for having established laboratory experiments as a tool in empirical economic analysis, especially in the study of alternative market mechanisms”
2001
The Nobel Prize in Physics 2001
Eric A. Cornell, Wolfgang Ketterle and Carl E. Wieman
“for the achievement of Bose-Einstein condensation in dilute gases of alkali atoms, and for early fundamental studies of the properties of the condensates”
The Nobel Prize in Chemistry 2001
William S. Knowles and Ryoji Noyori
“for their work on chirally catalysed hydrogenation reactions”
K. Barry Sharpless
“for his work on chirally catalysed oxidation reactions”
The Nobel Prize in Physiology or Medicine 2001
Leland H. Hartwell, Tim Hunt and Sir Paul M. Nurse
“for their discoveries of key regulators of the cell cycle”
The Nobel Prize in Literature 2001
Sir Vidiadhar Surajprasad Naipaul
“for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories”
The Nobel Peace Prize 2001
United Nations (U.N.) and Kofi Annan
“for their work for a better organized and more peaceful world”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2001
George A. Akerlof, A. Michael Spence and Joseph E. Stiglitz
“for their analyses of markets with asymmetric information”
2000
The Nobel Prize in Physics 2000
“for basic work on information and communication technology”
Zhores I. Alferov and Herbert Kroemer
“for developing semiconductor heterostructures used in high-speed- and opto-electronics”
Jack S. Kilby
“for his part in the invention of the integrated circuit”
The Nobel Prize in Chemistry 2000
Alan J. Heeger, Alan G. MacDiarmid and Hideki Shirakawa
“for the discovery and development of conductive polymers”
The Nobel Prize in Physiology or Medicine 2000
Arvid Carlsson, Paul Greengard and Eric R. Kandel
“for their discoveries concerning signal transduction in the nervous system”
The Nobel Prize in Literature 2000
Gao Xingjian
“for an æuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama”
The Nobel Peace Prize 2000
Kim Dae-jung
“for his work for democracy and human rights in South Korea and in East Asia in general, and for peace and reconciliation with North Korea in particular”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 2000
James J. Heckman
“for his development of theory and methods for analyzing selective samples”
Daniel L. McFadden
“for his development of theory and methods for analyzing discrete choice”
1999
The Nobel Prize in Physics 1999
Gerardus ‘t Hooft and Martinus J.G. Veltman
“for elucidating the quantum structure of electroweak interactions in physics”
The Nobel Prize in Chemistry 1999
Ahmed H. Zewail
“for his studies of the transition states of chemical reactions using femtosecond spectroscopy”
The Nobel Prize in Physiology or Medicine 1999
Günter Blobel
“for the discovery that proteins have intrinsic signals that govern their transport and localization in the cell”
The Nobel Prize in Literature 1999
Günter Grass
“whose frolicsome black fables portray the forgotten face of history”
The Nobel Peace Prize 1999
Médecins Sans Frontières
“in recognition of the organization’s pioneering humanitarian work on several continents”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1999
Robert A. Mundell
“for his analysis of monetary and fiscal policy under different exchange rate regimes and his analysis of optimum currency areas”
1998
The Nobel Prize in Physics 1998
Robert B. Laughlin, Horst L. Störmer and Daniel C. Tsui
“for their discovery of a new form of quantum fluid with fractionally charged excitations”
The Nobel Prize in Chemistry 1998
Walter Kohn
“for his development of the density-functional theory”
John A. Pople
“for his development of computational methods in quantum chemistry”
The Nobel Prize in Physiology or Medicine 1998
Robert F. Furchgott, Louis J. Ignarro and Ferid Murad
“for their discoveries concerning nitric oxide as a signalling molecule in the cardiovascular system”
The Nobel Prize in Literature 1998
José Saramago
“who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality”
The Nobel Peace Prize 1998
John Hume and David Trimble
“for their efforts to find a peaceful solution to the conflict in Northern Ireland”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1998
Amartya Sen
“for his contributions to welfare economics”
1997
The Nobel Prize in Physics 1997
Steven Chu, Claude Cohen-Tannoudji and William D. Phillips
“for development of methods to cool and trap atoms with laser light”
The Nobel Prize in Chemistry 1997
Paul D. Boyer and John E. Walker
“for their elucidation of the enzymatic mechanism underlying the synthesis of adenosine triphosphate (ATP)”
Jens C. Skou
“for the first discovery of an ion-transporting enzyme, Na+, K+ -ATPase”
The Nobel Prize in Physiology or Medicine 1997
Stanley B. Prusiner
“for his discovery of Prions – a new biological principle of infection”
The Nobel Prize in Literature 1997
Dario Fo
“who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”
The Nobel Peace Prize 1997
International Campaign to Ban Landmines (ICBL) and Jody Williams
“for their work for the banning and clearing of anti-personnel mines”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1997
Robert C. Merton and Myron S. Scholes
“for a new method to determine the value of derivatives”
1996
The Nobel Prize in Physics 1996
David M. Lee, Douglas D. Osheroff and Robert C. Richardson
“for their discovery of superfluidity in helium-3”
The Nobel Prize in Chemistry 1996
Robert F. Curl Jr., Sir Harold W. Kroto and Richard E. Smalley
“for their discovery of fullerenes”
The Nobel Prize in Physiology or Medicine 1996
Peter C. Doherty and Rolf M. Zinkernagel
“for their discoveries concerning the specificity of the cell mediated immune defence”
The Nobel Prize in Literature 1996
Wislawa Szymborska
“for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality”
The Nobel Peace Prize 1996
Carlos Filipe Ximenes Belo and José Ramos-Horta
“for their work towards a just and peaceful solution to the conflict in East Timor”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1996
James A. Mirrlees and William Vickrey
“for their fundamental contributions to the economic theory of incentives under asymmetric information”
1995
The Nobel Prize in Physics 1995
“for pioneering experimental contributions to lepton physics”
Martin L. Perl
“for the discovery of the tau lepton”
Frederick Reines
“for the detection of the neutrino”
The Nobel Prize in Chemistry 1995
Paul J. Crutzen, Mario J. Molina and F. Sherwood Rowland
“for their work in atmospheric chemistry, particularly concerning the formation and decomposition of ozone”
The Nobel Prize in Physiology or Medicine 1995
Edward B. Lewis, Christiane Nüsslein-Volhard and Eric F. Wieschaus
“for their discoveries concerning the genetic control of early embryonic development”
The Nobel Prize in Literature 1995
Seamus Heaney
“for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past”
The Nobel Peace Prize 1995
Joseph Rotblat and Pugwash Conferences on Science and World Affairs
“for their efforts to diminish the part played by nuclear arms in international politics and, in the longer run, to eliminate such arms”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1995
Robert E. Lucas Jr.
“for having developed and applied the hypothesis of rational expectations, and thereby having transformed macroeconomic analysis and deepened our understanding of economic policy”
1994
The Nobel Prize in Physics 1994
“for pioneering contributions to the development of neutron scattering techniques for studies of condensed matter”
Bertram N. Brockhouse
“for the development of neutron spectroscopy”
Clifford G. Shull
“for the development of the neutron diffraction technique”
The Nobel Prize in Chemistry 1994
George A. Olah
“for his contribution to carbocation chemistry”
The Nobel Prize in Physiology or Medicine 1994
Alfred G. Gilman and Martin Rodbell
“for their discovery of G-proteins and the role of these proteins in signal transduction in cells”
The Nobel Prize in Literature 1994
Kenzaburo Oe
“who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today”
The Nobel Peace Prize 1994
Yasser Arafat, Shimon Peres and Yitzhak Rabin
“for their efforts to create peace in the Middle East”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1994
John C. Harsanyi, John F. Nash Jr. and Reinhard Selten
“for their pioneering analysis of equilibria in the theory of non-cooperative games”
1993
The Nobel Prize in Physics 1993
Russell A. Hulse and Joseph H. Taylor Jr.
“for the discovery of a new type of pulsar, a discovery that has opened up new possibilities for the study of gravitation”
The Nobel Prize in Chemistry 1993
“for contributions to the developments of methods within DNA-based chemistry”
Kary B. Mullis
“for his invention of the polymerase chain reaction (PCR) method”
Michael Smith
“for his fundamental contributions to the establishment of oligonucleotide-based, site-directed mutagenesis and its development for protein studies”
The Nobel Prize in Physiology or Medicine 1993
Richard J. Roberts and Phillip A. Sharp
“for their discoveries of split genes”
The Nobel Prize in Literature 1993
Toni Morrison
“who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality”
The Nobel Peace Prize 1993
Nelson Mandela and Frederik Willem de Klerk
“for their work for the peaceful termination of the apartheid regime, and for laying the foundations for a new democratic South Africa”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1993
Robert W. Fogel and Douglass C. North
“for having renewed research in economic history by applying economic theory and quantitative methods in order to explain economic and institutional change”
1992
The Nobel Prize in Physics 1992
Georges Charpak
“for his invention and development of particle detectors, in particular the multiwire proportional chamber”
The Nobel Prize in Chemistry 1992
Rudolph A. Marcus
“for his contributions to the theory of electron transfer reactions in chemical systems”
The Nobel Prize in Physiology or Medicine 1992
Edmond H. Fischer and Edwin G. Krebs
“for their discoveries concerning reversible protein phosphorylation as a biological regulatory mechanism”
The Nobel Prize in Literature 1992
Derek Walcott
“for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment”
The Nobel Peace Prize 1992
Rigoberta Menchú Tum
“in recognition of her work for social justice and ethno-cultural reconciliation based on respect for the rights of indigenous peoples”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1992
Gary S. Becker
“for having extended the domain of microeconomic analysis to a wide range of human behaviour and interaction, including nonmarket behaviour”
1991
The Nobel Prize in Physics 1991
Pierre-Gilles de Gennes
“for discovering that methods developed for studying order phenomena in simple systems can be generalized to more complex forms of matter, in particular to liquid crystals and polymers”
The Nobel Prize in Chemistry 1991
Richard R. Ernst
“for his contributions to the development of the methodology of high resolution nuclear magnetic resonance (NMR) spectroscopy”
The Nobel Prize in Physiology or Medicine 1991
Erwin Neher and Bert Sakmann
“for their discoveries concerning the function of single ion channels in cells”
The Nobel Prize in Literature 1991
Nadine Gordimer
“who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity”
The Nobel Peace Prize 1991
Aung San Suu Kyi
“for her non-violent struggle for democracy and human rights”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1991
Ronald H. Coase
“for his discovery and clarification of the significance of transaction costs and property rights for the institutional structure and functioning of the economy”
1990
The Nobel Prize in Physics 1990
Jerome I. Friedman, Henry W. Kendall and Richard E. Taylor
“for their pioneering investigations concerning deep inelastic scattering of electrons on protons and bound neutrons, which have been of essential importance for the development of the quark model in particle physics”
The Nobel Prize in Chemistry 1990
Elias James Corey
“for his development of the theory and methodology of organic synthesis”
The Nobel Prize in Physiology or Medicine 1990
Joseph E. Murray and E. Donnall Thomas
“for their discoveries concerning organ and cell transplantation in the treatment of human disease”
The Nobel Prize in Literature 1990
Octavio Paz
“for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity”
The Nobel Peace Prize 1990
Mikhail Sergeyevich Gorbachev
“for his leading role in the peace process which today characterizes important parts of the international community”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1990
Harry M. Markowitz, Merton H. Miller and William F. Sharpe
“for their pioneering work in the theory of financial economics”
1989
The Nobel Prize in Physics 1989
Norman F. Ramsey
“for the invention of the separated oscillatory fields method and its use in the hydrogen maser and other atomic clocks”
Hans G. Dehmelt and Wolfgang Paul
“for the development of the ion trap technique”
The Nobel Prize in Chemistry 1989
Sidney Altman and Thomas R. Cech
“for their discovery of catalytic properties of RNA”
The Nobel Prize in Physiology or Medicine 1989
J. Michael Bishop and Harold E. Varmus
“for their discovery of the cellular origin of retroviral oncogenes”
The Nobel Prize in Literature 1989
Camilo José Cela
“for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”
The Nobel Peace Prize 1989
The 14th Dalai Lama (Tenzin Gyatso)
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1989
Trygve Haavelmo
“for his clarification of the probability theory foundations of econometrics and his analyses of simultaneous economic structures”
1988
The Nobel Prize in Physics 1988
Leon M. Lederman, Melvin Schwartz and Jack Steinberger
“for the neutrino beam method and the demonstration of the doublet structure of the leptons through the discovery of the muon neutrino”
The Nobel Prize in Chemistry 1988
Johann Deisenhofer, Robert Huber and Hartmut Michel
“for the determination of the three-dimensional structure of a photosynthetic reaction centre”
The Nobel Prize in Physiology or Medicine 1988
Sir James W. Black, Gertrude B. Elion and George H. Hitchings
“for their discoveries of important principles for drug treatment”
The Nobel Prize in Literature 1988
Naguib Mahfouz
“who, through works rich in nuance – now clear-sightedly realistic, now evocatively ambiguous – has formed an Arabian narrative art that applies to all mankind”
The Nobel Peace Prize 1988
United Nations Peacekeeping Forces
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1988
Maurice Allais
“for his pioneering contributions to the theory of markets and efficient utilization of resources”
1987
The Nobel Prize in Physics 1987
J. Georg Bednorz and K. Alexander Müller
“for their important break-through in the discovery of superconductivity in ceramic materials”
The Nobel Prize in Chemistry 1987
Donald J. Cram, Jean-Marie Lehn and Charles J. Pedersen
“for their development and use of molecules with structure-specific interactions of high selectivity”
The Nobel Prize in Physiology or Medicine 1987
Susumu Tonegawa
“for his discovery of the genetic principle for generation of antibody diversity”
The Nobel Prize in Literature 1987
Joseph Brodsky
“for an all-embracing authorship, imbued with clarity of thought and poetic intensity”
The Nobel Peace Prize 1987
Oscar Arias Sánchez
“for his work for peace in Central America, efforts which led to the accord signed in Guatemala on August 7 this year”
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1987
Robert M. Solow
“for his contributions to the theory of economic growth”
1986
The Nobel Prize in Physics 1986
Ernst Ruska
“for his fundamental work in electron optics, and for the design of the first electron microscope”
Gerd Binnig and Heinrich Rohrer
“for their design of the scanning tunneling microscope”
The Nobel Prize in Chemistry 1986
Dudley R. Herschbach, Yuan T. Lee and John C. Polanyi
“for their contributions concerning the dynamics of chemical elementary processes”
The Nobel Prize in Physiology or Medicine 1986
Stanley Cohen and Rita Levi-Montalcini
“for their discoveries of growth factors”
The Nobel Prize in Literature 1986
Wole Soyinka
“who in a wide cultural perspective and with poetic overtones fashions the drama of existence”
The Nobel Peace Prize 1986
Elie Wiesel
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1986
James M. Buchanan Jr.
“for his development of the contractual and constitutional bases for the theory of economic and political decision-making”
1985
The Nobel Prize in Physics 1985
Klaus von Klitzing
“for the discovery of the quantized Hall effect”
The Nobel Prize in Chemistry 1985
Herbert A. Hauptman and Jerome Karle
“for their outstanding achievements in the development of direct methods for the determination of crystal structures”
The Nobel Prize in Physiology or Medicine 1985
Michael S. Brown and Joseph L. Goldstein
“for their discoveries concerning the regulation of cholesterol metabolism”
The Nobel Prize in Literature 1985
Claude Simon
“who in his novel combines the poet’s and the painter’s creativeness with a deepened awareness of time in the depiction of the human condition”
The Nobel Peace Prize 1985
International Physicians for the Prevention of Nuclear War
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1985
Franco Modigliani
“for his pioneering analyses of saving and of financial markets”
1984
The Nobel Prize in Physics 1984
Carlo Rubbia and Simon van der Meer
“for their decisive contributions to the large project, which led to the discovery of the field particles W and Z, communicators of weak interaction”
The Nobel Prize in Chemistry 1984
Robert Bruce Merrifield
“for his development of methodology for chemical synthesis on a solid matrix”
The Nobel Prize in Physiology or Medicine 1984
Niels K. Jerne, Georges J.F. Köhler and César Milstein
“for theories concerning the specificity in development and control of the immune system and the discovery of the principle for production of monoclonal antibodies”
The Nobel Prize in Literature 1984
Jaroslav Seifert
“for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man”
The Nobel Peace Prize 1984
Desmond Mpilo Tutu
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1984
Richard Stone
“for having made fundamental contributions to the development of systems of national accounts and hence greatly improved the basis for empirical economic analysis”
1983
The Nobel Prize in Physics 1983
Subramanyan Chandrasekhar
“for his theoretical studies of the physical processes of importance to the structure and evolution of the stars”
William Alfred Fowler
“for his theoretical and experimental studies of the nuclear reactions of importance in the formation of the chemical elements in the universe”
The Nobel Prize in Chemistry 1983
Henry Taube
“for his work on the mechanisms of electron transfer reactions, especially in metal complexes”
The Nobel Prize in Physiology or Medicine 1983
Barbara McClintock
“for her discovery of mobile genetic elements”
The Nobel Prize in Literature 1983
William Golding
“for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today”
The Nobel Peace Prize 1983
Lech Walesa
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1983
Gerard Debreu
“for having incorporated new analytical methods into economic theory and for his rigorous reformulation of the theory of general equilibrium”
1982
The Nobel Prize in Physics 1982
Kenneth G. Wilson
“for his theory for critical phenomena in connection with phase transitions”
The Nobel Prize in Chemistry 1982
Aaron Klug
“for his development of crystallographic electron microscopy and his structural elucidation of biologically important nucleic acid-protein complexes”
The Nobel Prize in Physiology or Medicine 1982
Sune K. Bergström, Bengt I. Samuelsson and John R. Vane
“for their discoveries concerning prostaglandins and related biologically active substances”
The Nobel Prize in Literature 1982
Gabriel García Márquez
“for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent’s life and conflicts”
The Nobel Peace Prize 1982
Alva Myrdal
Alfonso García Robles
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1982
George J. Stigler
“for his seminal studies of industrial structures, functioning of markets and causes and effects of public regulation”
1981
The Nobel Prize in Physics 1981
Nicolaas Bloembergen and Arthur Leonard Schawlow
“for their contribution to the development of laser spectroscopy”
Kai M. Siegbahn
“for his contribution to the development of high-resolution electron spectroscopy”
The Nobel Prize in Chemistry 1981
Kenichi Fukui and Roald Hoffmann
“for their theories, developed independently, concerning the course of chemical reactions”
The Nobel Prize in Physiology or Medicine 1981
Roger W. Sperry
“for his discoveries concerning the functional specialization of the cerebral hemispheres”
David H. Hubel and Torsten N. Wiesel
“for their discoveries concerning information processing in the visual system”
The Nobel Prize in Literature 1981
Elias Canetti
“for writings marked by a broad outlook, a wealth of ideas and artistic power”
The Nobel Peace Prize 1981
Office of the United Nations High Commissioner for Refugees (UNHCR)
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1981
James Tobin
“for his analysis of financial markets and their relations to expenditure decisions, employment, production and prices”
1980
The Nobel Prize in Physics 1980
James Watson Cronin and Val Logsdon Fitch
“for the discovery of violations of fundamental symmetry principles in the decay of neutral K-mesons”
The Nobel Prize in Chemistry 1980
Paul Berg
“for his fundamental studies of the biochemistry of nucleic acids, with particular regard to recombinant-DNA”
Walter Gilbert and Frederick Sanger
“for their contributions concerning the determination of base sequences in nucleic acids”
The Nobel Prize in Physiology or Medicine 1980
Baruj Benacerraf, Jean Dausset and George D. Snell
“for their discoveries concerning genetically determined structures on the cell surface that regulate immunological reactions”
The Nobel Prize in Literature 1980
Czeslaw Milosz
“who with uncompromising clear-sightedness voices man’s exposed condition in a world of severe conflicts”
The Nobel Peace Prize 1980
Adolfo Pérez Esquivel
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1980
Lawrence R. Klein
“for the creation of econometric models and the application to the analysis of economic fluctuations and economic policies”
1979
The Nobel Prize in Physics 1979
Sheldon Lee Glashow, Abdus Salam and Steven Weinberg
“for their contributions to the theory of the unified weak and electromagnetic interaction between elementary particles, including, inter alia, the prediction of the weak neutral current”
The Nobel Prize in Chemistry 1979
Herbert C. Brown and Georg Wittig
“for their development of the use of boron- and phosphorus-containing compounds, respectively, into important reagents in organic synthesis”
The Nobel Prize in Physiology or Medicine 1979
Allan M. Cormack and Godfrey N. Hounsfield
“for the development of computer assisted tomography”
The Nobel Prize in Literature 1979
Odysseus Elytis
“for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”
The Nobel Peace Prize 1979
Mother Teresa
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1979
Theodore W. Schultz and Sir Arthur Lewis
“for their pioneering research into economic development research with particular consideration of the problems of developing countries”
1978
The Nobel Prize in Physics 1978
Pyotr Leonidovich Kapitsa
“for his basic inventions and discoveries in the area of low-temperature physics”
Arno Allan Penzias and Robert Woodrow Wilson
“for their discovery of cosmic microwave background radiation”
The Nobel Prize in Chemistry 1978
Peter D. Mitchell
“for his contribution to the understanding of biological energy transfer through the formulation of the chemiosmotic theory”
The Nobel Prize in Physiology or Medicine 1978
Werner Arber, Daniel Nathans and Hamilton O. Smith
“for the discovery of restriction enzymes and their application to problems of molecular genetics”
The Nobel Prize in Literature 1978
Isaac Bashevis Singer
“for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life”
The Nobel Peace Prize 1978
Mohamed Anwar al-Sadat
Menachem Begin
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1978
Herbert A. Simon
“for his pioneering research into the decision-making process within economic organizations”
1977
The Nobel Prize in Physics 1977
Philip Warren Anderson, Sir Nevill Francis Mott and John Hasbrouck van Vleck
“for their fundamental theoretical investigations of the electronic structure of magnetic and disordered systems”
The Nobel Prize in Chemistry 1977
Ilya Prigogine
“for his contributions to non-equilibrium thermodynamics, particularly the theory of dissipative structures”
The Nobel Prize in Physiology or Medicine 1977
Roger Guillemin and Andrew V. Schally
“for their discoveries concerning the peptide hormone production of the brain”
Rosalyn Yalow
“for the development of radioimmunoassays of peptide hormones”
The Nobel Prize in Literature 1977
Vicente Aleixandre
“for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”
The Nobel Peace Prize 1977
Amnesty International
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1977
Bertil Ohlin and James E. Meade
“for their pathbreaking contribution to the theory of international trade and international capital movements”
1976
The Nobel Prize in Physics 1976
Burton Richter and Samuel Chao Chung Ting
“for their pioneering work in the discovery of a heavy elementary particle of a new kind”
The Nobel Prize in Chemistry 1976
William N. Lipscomb
“for his studies on the structure of boranes illuminating problems of chemical bonding”
The Nobel Prize in Physiology or Medicine 1976
Baruch S. Blumberg and D. Carleton Gajdusek
“for their discoveries concerning new mechanisms for the origin and dissemination of infectious diseases”
The Nobel Prize in Literature 1976
Saul Bellow
“for the human understanding and subtle analysis of contemporary culture that are combined in his work”
The Nobel Peace Prize 1976
Betty Williams
Mairead Corrigan
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1976
Milton Friedman
“for his achievements in the fields of consumption analysis, monetary history and theory and for his demonstration of the complexity of stabilization policy”
1975
The Nobel Prize in Physics 1975
Aage Niels Bohr, Ben Roy Mottelson and Leo James Rainwater
“for the discovery of the connection between collective motion and particle motion in atomic nuclei and the development of the theory of the structure of the atomic nucleus based on this connection”
The Nobel Prize in Chemistry 1975
John Warcup Cornforth
“for his work on the stereochemistry of enzyme-catalyzed reactions”
Vladimir Prelog
“for his research into the stereochemistry of organic molecules and reactions”
The Nobel Prize in Physiology or Medicine 1975
David Baltimore, Renato Dulbecco and Howard Martin Temin
“for their discoveries concerning the interaction between tumour viruses and the genetic material of the cell”
The Nobel Prize in Literature 1975
Eugenio Montale
“for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions”
The Nobel Peace Prize 1975
Andrei Dmitrievich Sakharov
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1975
Leonid Vitaliyevich Kantorovich and Tjalling C. Koopmans
“for their contributions to the theory of optimum allocation of resources”
1974
The Nobel Prize in Physics 1974
Sir Martin Ryle and Antony Hewish
“for their pioneering research in radio astrophysics: Ryle for his observations and inventions, in particular of the aperture synthesis technique, and Hewish for his decisive role in the discovery of pulsars”
The Nobel Prize in Chemistry 1974
Paul J. Flory
“for his fundamental achievements, both theoretical and experimental, in the physical chemistry of the macromolecules”
The Nobel Prize in Physiology or Medicine 1974
Albert Claude, Christian de Duve and George E. Palade
“for their discoveries concerning the structural and functional organization of the cell”
The Nobel Prize in Literature 1974
Eyvind Johnson
“for a narrative art, far-seeing in lands and ages, in the service of freedom”
Harry Martinson
“for writings that catch the dewdrop and reflect the cosmos”
The Nobel Peace Prize 1974
Seán MacBride
Eisaku Sato
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1974
Gunnar Myrdal and Friedrich August von Hayek
“for their pioneering work in the theory of money and economic fluctuations and for their penetrating analysis of the interdependence of economic, social and institutional phenomena”
1973
The Nobel Prize in Physics 1973
Leo Esaki and Ivar Giaever
“for their experimental discoveries regarding tunneling phenomena in semiconductors and superconductors, respectively”
Brian David Josephson
“for his theoretical predictions of the properties of a supercurrent through a tunnel barrier, in particular those phenomena which are generally known as the Josephson effects”
The Nobel Prize in Chemistry 1973
Ernst Otto Fischer and Geoffrey Wilkinson
“for their pioneering work, performed independently, on the chemistry of the organometallic, so called sandwich compounds”
The Nobel Prize in Physiology or Medicine 1973
Karl von Frisch, Konrad Lorenz and Nikolaas Tinbergen
“for their discoveries concerning organization and elicitation of individual and social behaviour patterns”
The Nobel Prize in Literature 1973
Patrick White
“for an epic and psychological narrative art which has introduced a new continent into literature”
The Nobel Peace Prize 1973
Henry A. Kissinger
Le Duc Tho
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1973
Wassily Leontief
“for the development of the input-output method and for its application to important economic problems”
1972
The Nobel Prize in Physics 1972
John Bardeen, Leon Neil Cooper and John Robert Schrieffer
“for their jointly developed theory of superconductivity, usually called the BCS-theory”
The Nobel Prize in Chemistry 1972
Christian B. Anfinsen
“for his work on ribonuclease, especially concerning the connection between the amino acid sequence and the biologically active conformation”
Stanford Moore and William H. Stein
“for their contribution to the understanding of the connection between chemical structure and catalytic activity of the active centre of the ribonuclease molecule”
The Nobel Prize in Physiology or Medicine 1972
Gerald M. Edelman and Rodney R. Porter
“for their discoveries concerning the chemical structure of antibodies”
The Nobel Prize in Literature 1972
Heinrich Böll
“for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature”
The Nobel Peace Prize 1972
No Nobel Prize was awarded this year. The prize money for 1972 was allocated to the Main Fund.
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1972
John R. Hicks and Kenneth J. Arrow
“for their pioneering contributions to general economic equilibrium theory and welfare theory”
1971
The Nobel Prize in Physics 1971
Dennis Gabor
“for his invention and development of the holographic method”
The Nobel Prize in Chemistry 1971
Gerhard Herzberg
“for his contributions to the knowledge of electronic structure and geometry of molecules, particularly free radicals”
The Nobel Prize in Physiology or Medicine 1971
Earl W. Sutherland, Jr.
“for his discoveries concerning the mechanisms of the action of hormones”
The Nobel Prize in Literature 1971
Pablo Neruda
“for a poetry that with the action of an elemental force brings alive a continent’s destiny and dreams”
The Nobel Peace Prize 1971
Willy Brandt
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1971
Simon Kuznets
“for his empirically founded interpretation of economic growth which has led to new and deepened insight into the economic and social structure and process of development”
1970
The Nobel Prize in Physics 1970
Hannes Olof Gösta Alfvén
“for fundamental work and discoveries in magnetohydro-dynamics with fruitful applications in different parts of plasma physics”
Louis Eugène Félix Néel
“for fundamental work and discoveries concerning antiferromagnetism and ferrimagnetism which have led to important applications in solid state physics”
The Nobel Prize in Chemistry 1970
Luis F. Leloir
“for his discovery of sugar nucleotides and their role in the biosynthesis of carbohydrates”
The Nobel Prize in Physiology or Medicine 1970
Sir Bernard Katz, Ulf von Euler and Julius Axelrod
“for their discoveries concerning the humoral transmittors in the nerve terminals and the mechanism for their storage, release and inactivation”
The Nobel Prize in Literature 1970
Aleksandr Isayevich Solzhenitsyn
“for the ethical force with which he has pursued the indispensable traditions of Russian literature”
The Nobel Peace Prize 1970
Norman E. Borlaug
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1970
Paul A. Samuelson
“for the scientific work through which he has developed static and dynamic economic theory and actively contributed to raising the level of analysis in economic science”
1969
The Nobel Prize in Physics 1969
Murray Gell-Mann
“for his contributions and discoveries concerning the classification of elementary particles and their interactions”
The Nobel Prize in Chemistry 1969
Derek H. R. Barton and Odd Hassel
“for their contributions to the development of the concept of conformation and its application in chemistry”
The Nobel Prize in Physiology or Medicine 1969
Max Delbrück, Alfred D. Hershey and Salvador E. Luria
“for their discoveries concerning the replication mechanism and the genetic structure of viruses”
The Nobel Prize in Literature 1969
Samuel Beckett
“for his writing, which – in new forms for the novel and drama – in the destitution of modern man acquires its elevation”
The Nobel Peace Prize 1969
International Labour Organization (I.L.O.)
The Sveriges Riksbank Prize in Economic Sciences in Memory of Alfred Nobel 1969
Ragnar Frisch and Jan Tinbergen
“for having developed and applied dynamic models for the analysis of economic processes”
1968
The Nobel Prize in Physics 1968
Luis Walter Alvarez
“for his decisive contributions to elementary particle physics, in particular the discovery of a large number of resonance states, made possible through his development of the technique of using hydrogen bubble chamber and data analysis”
The Nobel Prize in Chemistry 1968
Lars Onsager
“for the discovery of the reciprocal relations bearing his name, which are fundamental for the thermodynamics of irreversible processes”
The Nobel Prize in Physiology or Medicine 1968
Robert W. Holley, Har Gobind Khorana and Marshall W. Nirenberg
“for their interpretation of the genetic code and its function in protein synthesis”
The Nobel Prize in Literature 1968
Yasunari Kawabata
“for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind”
The Nobel Peace Prize 1968
René Cassin
1967
The Nobel Prize in Physics 1967
Hans Albrecht Bethe
“for his contributions to the theory of nuclear reactions, especially his discoveries concerning the energy production in stars”
The Nobel Prize in Chemistry 1967
Manfred Eigen, Ronald George Wreyford Norrish and George Porter
“for their studies of extremely fast chemical reactions, effected by disturbing the equilibrium by means of very short pulses of energy”
The Nobel Prize in Physiology or Medicine 1967
Ragnar Granit, Haldan Keffer Hartline and George Wald
“for their discoveries concerning the primary physiological and chemical visual processes in the eye”
The Nobel Prize in Literature 1967
Miguel Angel Asturias
“for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”
The Nobel Peace Prize 1967
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1966
The Nobel Prize in Physics 1966
Alfred Kastler
“for the discovery and development of optical methods for studying Hertzian resonances in atoms”
The Nobel Prize in Chemistry 1966
Robert S. Mulliken
“for his fundamental work concerning chemical bonds and the electronic structure of molecules by the molecular orbital method”
The Nobel Prize in Physiology or Medicine 1966
Peyton Rous
“for his discovery of tumour-inducing viruses”
Charles Brenton Huggins
“for his discoveries concerning hormonal treatment of prostatic cancer”
The Nobel Prize in Literature 1966
Shmuel Yosef Agnon
“for his profoundly characteristic narrative art with motifs from the life of the Jewish people”
Nelly Sachs
“for her outstanding lyrical and dramatic writing, which interprets Israel’s destiny with touching strength”
The Nobel Peace Prize 1966
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1965
The Nobel Prize in Physics 1965
Sin-Itiro Tomonaga, Julian Schwinger and Richard P. Feynman
“for their fundamental work in quantum electrodynamics, with deep-ploughing consequences for the physics of elementary particles”
The Nobel Prize in Chemistry 1965
Robert Burns Woodward
“for his outstanding achievements in the art of organic synthesis”
The Nobel Prize in Physiology or Medicine 1965
François Jacob, André Lwoff and Jacques Monod
“for their discoveries concerning genetic control of enzyme and virus synthesis”
The Nobel Prize in Literature 1965
Mikhail Aleksandrovich Sholokhov
“for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people”
The Nobel Peace Prize 1965
United Nations Children’s Fund (UNICEF)
1964
The Nobel Prize in Physics 1964
Charles Hard Townes, Nicolay Gennadiyevich Basov and Aleksandr Mikhailovich Prokhorov
“for fundamental work in the field of quantum electronics, which has led to the construction of oscillators and amplifiers based on the maser-laser principle”
The Nobel Prize in Chemistry 1964
Dorothy Crowfoot Hodgkin
“for her determinations by X-ray techniques of the structures of important biochemical substances”
The Nobel Prize in Physiology or Medicine 1964
Konrad Bloch and Feodor Lynen
“for their discoveries concerning the mechanism and regulation of the cholesterol and fatty acid metabolism”
The Nobel Prize in Literature 1964
Jean-Paul Sartre
“for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age”
The Nobel Peace Prize 1964
Martin Luther King Jr.
1963
The Nobel Prize in Physics 1963
Eugene Paul Wigner
“for his contributions to the theory of the atomic nucleus and the elementary particles, particularly through the discovery and application of fundamental symmetry principles”
Maria Goeppert Mayer and J. Hans D. Jensen
“for their discoveries concerning nuclear shell structure”
The Nobel Prize in Chemistry 1963
Karl Ziegler and Giulio Natta
“for their discoveries in the field of the chemistry and technology of high polymers”
The Nobel Prize in Physiology or Medicine 1963
Sir John Carew Eccles, Alan Lloyd Hodgkin and Andrew Fielding Huxley
“for their discoveries concerning the ionic mechanisms involved in excitation and inhibition in the peripheral and central portions of the nerve cell membrane”
The Nobel Prize in Literature 1963
Giorgos Seferis
“for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”
The Nobel Peace Prize 1963
Comité international de la Croix Rouge (International Committee of the Red Cross)
Ligue des Sociétés de la Croix-Rouge (League of Red Cross Societies)
1962
The Nobel Prize in Physics 1962
Lev Davidovich Landau
“for his pioneering theories for condensed matter, especially liquid helium”
The Nobel Prize in Chemistry 1962
Max Ferdinand Perutz and John Cowdery Kendrew
“for their studies of the structures of globular proteins”
The Nobel Prize in Physiology or Medicine 1962
Francis Harry Compton Crick, James Dewey Watson and Maurice Hugh Frederick Wilkins
“for their discoveries concerning the molecular structure of nucleic acids and its significance for information transfer in living material”
The Nobel Prize in Literature 1962
John Steinbeck
“for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception”
The Nobel Peace Prize 1962
Linus Carl Pauling
1961
The Nobel Prize in Physics 1961
Robert Hofstadter
“for his pioneering studies of electron scattering in atomic nuclei and for his thereby achieved discoveries concerning the structure of the nucleons”
Rudolf Ludwig Mössbauer
“for his researches concerning the resonance absorption of gamma radiation and his discovery in this connection of the effect which bears his name”
The Nobel Prize in Chemistry 1961
Melvin Calvin
“for his research on the carbon dioxide assimilation in plants”
The Nobel Prize in Physiology or Medicine 1961
Georg von Békésy
“for his discoveries of the physical mechanism of stimulation within the cochlea”
The Nobel Prize in Literature 1961
Ivo Andric
“for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country”
The Nobel Peace Prize 1961
Dag Hjalmar Agne Carl Hammarskjöld
1960
The Nobel Prize in Physics 1960
Donald Arthur Glaser
“for the invention of the bubble chamber”
The Nobel Prize in Chemistry 1960
Willard Frank Libby
“for his method to use carbon-14 for age determination in archaeology, geology, geophysics, and other branches of science”
The Nobel Prize in Physiology or Medicine 1960
Sir Frank Macfarlane Burnet and Peter Brian Medawar
“for discovery of acquired immunological tolerance”
The Nobel Prize in Literature 1960
Saint-John Perse
“for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time”
The Nobel Peace Prize 1960
Albert John Lutuli
1959
The Nobel Prize in Physics 1959
Emilio Gino Segrè and Owen Chamberlain
“for their discovery of the antiproton”
The Nobel Prize in Chemistry 1959
Jaroslav Heyrovsky
“for his discovery and development of the polarographic methods of analysis”
The Nobel Prize in Physiology or Medicine 1959
Severo Ochoa and Arthur Kornberg
“for their discovery of the mechanisms in the biological synthesis of ribonucleic acid and deoxyribonucleic acid”
The Nobel Prize in Literature 1959
Salvatore Quasimodo
“for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times”
The Nobel Peace Prize 1959
Philip J. Noel-Baker
1958
The Nobel Prize in Physics 1958
Pavel Alekseyevich Cherenkov, Il´ja Mikhailovich Frank and Igor Yevgenyevich Tamm
“for the discovery and the interpretation of the Cherenkov effect”
The Nobel Prize in Chemistry 1958
Frederick Sanger
“for his work on the structure of proteins, especially that of insulin”
The Nobel Prize in Physiology or Medicine 1958
George Wells Beadle and Edward Lawrie Tatum
“for their discovery that genes act by regulating definite chemical events”
Joshua Lederberg
“for his discoveries concerning genetic recombination and the organization of the genetic material of bacteria”
The Nobel Prize in Literature 1958
Boris Leonidovich Pasternak
“for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition”
The Nobel Peace Prize 1958
Georges Pire
1957
The Nobel Prize in Physics 1957
Chen Ning Yang and Tsung-Dao (T.D.) Lee
“for their penetrating investigation of the so-called parity laws which has led to important discoveries regarding the elementary particles”
The Nobel Prize in Chemistry 1957
Lord (Alexander R.) Todd
“for his work on nucleotides and nucleotide co-enzymes”
The Nobel Prize in Physiology or Medicine 1957
Daniel Bovet
“for his discoveries relating to synthetic compounds that inhibit the action of certain body substances, and especially their action on the vascular system and the skeletal muscles”
The Nobel Prize in Literature 1957
Albert Camus
“for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”
The Nobel Peace Prize 1957
Lester Bowles Pearson
1956
The Nobel Prize in Physics 1956
William Bradford Shockley, John Bardeen and Walter Houser Brattain
“for their researches on semiconductors and their discovery of the transistor effect”
The Nobel Prize in Chemistry 1956
Sir Cyril Norman Hinshelwood and Nikolay Nikolaevich Semenov
“for their researches into the mechanism of chemical reactions”
The Nobel Prize in Physiology or Medicine 1956
André Frédéric Cournand, Werner Forssmann and Dickinson W. Richards
“for their discoveries concerning heart catheterization and pathological changes in the circulatory system”
The Nobel Prize in Literature 1956
Juan Ramón Jiménez
“for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity”
The Nobel Peace Prize 1956
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1955
The Nobel Prize in Physics 1955
Willis Eugene Lamb
“for his discoveries concerning the fine structure of the hydrogen spectrum”
Polykarp Kusch
“for his precision determination of the magnetic moment of the electron”
The Nobel Prize in Chemistry 1955
Vincent du Vigneaud
“for his work on biochemically important sulphur compounds, especially for the first synthesis of a polypeptide hormone”
The Nobel Prize in Physiology or Medicine 1955
Axel Hugo Theodor Theorell
“for his discoveries concerning the nature and mode of action of oxidation enzymes”
The Nobel Prize in Literature 1955
Halldór Kiljan Laxness
“for his vivid epic power which has renewed the great narrative art of Iceland”
The Nobel Peace Prize 1955
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1954
The Nobel Prize in Physics 1954
Max Born
“for his fundamental research in quantum mechanics, especially for his statistical interpretation of the wavefunction”
Walther Bothe
“for the coincidence method and his discoveries made therewith”
The Nobel Prize in Chemistry 1954
Linus Carl Pauling
“for his research into the nature of the chemical bond and its application to the elucidation of the structure of complex substances”
The Nobel Prize in Physiology or Medicine 1954
John Franklin Enders, Thomas Huckle Weller and Frederick Chapman Robbins
“for their discovery of the ability of poliomyelitis viruses to grow in cultures of various types of tissue”
The Nobel Prize in Literature 1954
Ernest Miller Hemingway
“for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea,and for the influence that he has exerted on contemporary style”
The Nobel Peace Prize 1954
Office of the United Nations High Commissioner for Refugees (UNHCR)
1953
The Nobel Prize in Physics 1953
Frits Zernike
“for his demonstration of the phase contrast method, especially for his invention of the phase contrast microscope”
The Nobel Prize in Chemistry 1953
Hermann Staudinger
“for his discoveries in the field of macromolecular chemistry”
The Nobel Prize in Physiology or Medicine 1953
Hans Adolf Krebs
“for his discovery of the citric acid cycle”
Fritz Albert Lipmann
“for his discovery of co-enzyme A and its importance for intermediary metabolism”
The Nobel Prize in Literature 1953
Sir Winston Leonard Spencer Churchill
“for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values”
The Nobel Peace Prize 1953
George Catlett Marshall
1952
The Nobel Prize in Physics 1952
Felix Bloch and Edward Mills Purcell
“for their development of new methods for nuclear magnetic precision measurements and discoveries in connection therewith”
The Nobel Prize in Chemistry 1952
Archer John Porter Martin and Richard Laurence Millington Synge
“for their invention of partition chromatography”
The Nobel Prize in Physiology or Medicine 1952
Selman Abraham Waksman
“for his discovery of streptomycin, the first antibiotic effective against tuberculosis”
The Nobel Prize in Literature 1952
François Mauriac
“for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life”
The Nobel Peace Prize 1952
Albert Schweitzer
1951
The Nobel Prize in Physics 1951
Sir John Douglas Cockcroft and Ernest Thomas Sinton Walton
“for their pioneer work on the transmutation of atomic nuclei by artificially accelerated atomic particles”
The Nobel Prize in Chemistry 1951
Edwin Mattison McMillan and Glenn Theodore Seaborg
“for their discoveries in the chemistry of the transuranium elements”
The Nobel Prize in Physiology or Medicine 1951
Max Theiler
“for his discoveries concerning yellow fever and how to combat it”
The Nobel Prize in Literature 1951
Pär Fabian Lagerkvist
“for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind”
The Nobel Peace Prize 1951
Léon Jouhaux
1950
The Nobel Prize in Physics 1950
Cecil Frank Powell
“for his development of the photographic method of studying nuclear processes and his discoveries regarding mesons made with this method”
The Nobel Prize in Chemistry 1950
Otto Paul Hermann Diels and Kurt Alder
“for their discovery and development of the diene synthesis”
The Nobel Prize in Physiology or Medicine 1950
Edward Calvin Kendall, Tadeus Reichstein and Philip Showalter Hench
“for their discoveries relating to the hormones of the adrenal cortex, their structure and biological effects”
The Nobel Prize in Literature 1950
Earl (Bertrand Arthur William) Russell
“in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”
The Nobel Peace Prize 1950
Ralph Bunche
1949
The Nobel Prize in Physics 1949
Hideki Yukawa
“for his prediction of the existence of mesons on the basis of theoretical work on nuclear forces”
The Nobel Prize in Chemistry 1949
William Francis Giauque
“for his contributions in the field of chemical thermodynamics, particularly concerning the behaviour of substances at extremely low temperatures”
The Nobel Prize in Physiology or Medicine 1949
Walter Rudolf Hess
“for his discovery of the functional organization of the interbrain as a coordinator of the activities of the internal organs”
Antonio Caetano de Abreu Freire Egas Moniz
“for his discovery of the therapeutic value of leucotomy in certain psychoses”
The Nobel Prize in Literature 1949
William Faulkner
“for his powerful and artistically unique contribution to the modern American novel”
The Nobel Peace Prize 1949
Lord (John) Boyd Orr of Brechin
1948
The Nobel Prize in Physics 1948
Patrick Maynard Stuart Blackett
“for his development of the Wilson cloud chamber method, and his discoveries therewith in the fields of nuclear physics and cosmic radiation”
The Nobel Prize in Chemistry 1948
Arne Wilhelm Kaurin Tiselius
“for his research on electrophoresis and adsorption analysis, especially for his discoveries concerning the complex nature of the serum proteins”
The Nobel Prize in Physiology or Medicine 1948
Paul Hermann Müller
“for his discovery of the high efficiency of DDT as a contact poison against several arthropods”
The Nobel Prize in Literature 1948
Thomas Stearns Eliot
“for his outstanding, pioneer contribution to present-day poetry”
The Nobel Peace Prize 1948
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1947
The Nobel Prize in Physics 1947
Sir Edward Victor Appleton
“for his investigations of the physics of the upper atmosphere especially for the discovery of the so-called Appleton layer”
The Nobel Prize in Chemistry 1947
Sir Robert Robinson
“for his investigations on plant products of biological importance, especially the alkaloids”
The Nobel Prize in Physiology or Medicine 1947
Carl Ferdinand Cori and Gerty Theresa Cori, née Radnitz
“for their discovery of the course of the catalytic conversion of glycogen”
Bernardo Alberto Houssay
“for his discovery of the part played by the hormone of the anterior pituitary lobe in the metabolism of sugar”
The Nobel Prize in Literature 1947
André Paul Guillaume Gide
“for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight”
The Nobel Peace Prize 1947
Friends Service Council (The Quakers)
American Friends Service Committee (The Quakers)
1946
The Nobel Prize in Physics 1946
Percy Williams Bridgman
“for the invention of an apparatus to produce extremely high pressures, and for the discoveries he made therewith in the field of high pressure physics”
The Nobel Prize in Chemistry 1946
James Batcheller Sumner
“for his discovery that enzymes can be crystallized”
John Howard Northrop and Wendell Meredith Stanley
“for their preparation of enzymes and virus proteins in a pure form”
The Nobel Prize in Physiology or Medicine 1946
Hermann Joseph Muller
“for the discovery of the production of mutations by means of X-ray irradiation”
The Nobel Prize in Literature 1946
Hermann Hesse
“for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style”
The Nobel Peace Prize 1946
Emily Greene Balch
John Raleigh Mott
1945
The Nobel Prize in Physics 1945
Wolfgang Pauli
“for the discovery of the Exclusion Principle, also called the Pauli Principle”
The Nobel Prize in Chemistry 1945
Artturi Ilmari Virtanen
“for his research and inventions in agricultural and nutrition chemistry, especially for his fodder preservation method”
The Nobel Prize in Physiology or Medicine 1945
Sir Alexander Fleming, Ernst Boris Chain and Sir Howard Walter Florey
“for the discovery of penicillin and its curative effect in various infectious diseases”
The Nobel Prize in Literature 1945
Gabriela Mistral
“for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”
The Nobel Peace Prize 1945
Cordell Hull
1944
The Nobel Prize in Physics 1944
Isidor Isaac Rabi
“for his resonance method for recording the magnetic properties of atomic nuclei”
The Nobel Prize in Chemistry 1944
Otto Hahn
“for his discovery of the fission of heavy nuclei”
The Nobel Prize in Physiology or Medicine 1944
Joseph Erlanger and Herbert Spencer Gasser
“for their discoveries relating to the highly differentiated functions of single nerve fibres”
The Nobel Prize in Literature 1944
Johannes Vilhelm Jensen
“for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style”
The Nobel Peace Prize 1944
Comité international de la Croix Rouge (International Committee of the Red Cross)
1943
The Nobel Prize in Physics 1943
Otto Stern
“for his contribution to the development of the molecular ray method and his discovery of the magnetic moment of the proton”
The Nobel Prize in Chemistry 1943
George de Hevesy
“for his work on the use of isotopes as tracers in the study of chemical processes”
The Nobel Prize in Physiology or Medicine 1943
Henrik Carl Peter Dam
“for his discovery of vitamin K”
Edward Adelbert Doisy
“for his discovery of the chemical nature of vitamin K”
The Nobel Prize in Literature 1943
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Peace Prize 1943
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1942
The Nobel Prize in Physics 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Chemistry 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Peace Prize 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1941
The Nobel Prize in Physics 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Chemistry 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Peace Prize 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1940
The Nobel Prize in Physics 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Chemistry 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Peace Prize 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1939
The Nobel Prize in Physics 1939
Ernest Orlando Lawrence
“for the invention and development of the cyclotron and for results obtained with it, especially with regard to artificial radioactive elements”
The Nobel Prize in Chemistry 1939
Adolf Friedrich Johann Butenandt
“for his work on sex hormones”
Leopold Ruzicka
“for his work on polymethylenes and higher terpenes”
The Nobel Prize in Physiology or Medicine 1939
Gerhard Domagk
“for the discovery of the antibacterial effects of prontosil”
The Nobel Prize in Literature 1939
Frans Eemil Sillanpää
“for his deep understanding of his country’s peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature”
The Nobel Peace Prize 1939
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
1938
The Nobel Prize in Physics 1938
Enrico Fermi
“for his demonstrations of the existence of new radioactive elements produced by neutron irradiation, and for his related discovery of nuclear reactions brought about by slow neutrons”
The Nobel Prize in Chemistry 1938
Richard Kuhn
“for his work on carotenoids and vitamins”
The Nobel Prize in Physiology or Medicine 1938
Corneille Jean François Heymans
“for the discovery of the role played by the sinus and aortic mechanisms in the regulation of respiration”
The Nobel Prize in Literature 1938
Pearl Buck
“for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces”
The Nobel Peace Prize 1938
Office international Nansen pour les Réfugiés (Nansen International Office for Refugees)
1937
The Nobel Prize in Physics 1937
Clinton Joseph Davisson and George Paget Thomson
“for their experimental discovery of the diffraction of electrons by crystals”
The Nobel Prize in Chemistry 1937
Walter Norman Haworth
“for his investigations on carbohydrates and vitamin C”
Paul Karrer
“for his investigations on carotenoids, flavins and vitamins A and B2”
The Nobel Prize in Physiology or Medicine 1937
Albert von Szent-Györgyi Nagyrápolt
“for his discoveries in connection with the biological combustion processes, with special reference to vitamin C and the catalysis of fumaric acid”
The Nobel Prize in Literature 1937
Roger Martin du Gard
“for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault”
The Nobel Peace Prize 1937
Cecil of Chelwood, Viscount (Lord Edgar Algernon Robert Gascoyne Cecil)
1936
The Nobel Prize in Physics 1936
Victor Franz Hess
“for his discovery of cosmic radiation”
Carl David Anderson
“for his discovery of the positron”
The Nobel Prize in Chemistry 1936
Petrus (Peter) Josephus Wilhelmus Debye
“for his contributions to our knowledge of molecular structure through his investigations on dipole moments and on the diffraction of X-rays and electrons in gases”
The Nobel Prize in Physiology or Medicine 1936
Sir Henry Hallett Dale and Otto Loewi
“for their discoveries relating to chemical transmission of nerve impulses”
The Nobel Prize in Literature 1936
Eugene Gladstone O’Neill
“for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy”
The Nobel Peace Prize 1936
Carlos Saavedra Lamas
1935
The Nobel Prize in Physics 1935
James Chadwick
“for the discovery of the neutron”
The Nobel Prize in Chemistry 1935
Frédéric Joliot and Irène Joliot-Curie
“in recognition of their synthesis of new radioactive elements”
The Nobel Prize in Physiology or Medicine 1935
Hans Spemann
“for his discovery of the organizer effect in embryonic development”
The Nobel Prize in Literature 1935
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Peace Prize 1935
Carl von Ossietzky
1934
The Nobel Prize in Physics 1934
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Chemistry 1934
Harold Clayton Urey
“for his discovery of heavy hydrogen”
The Nobel Prize in Physiology or Medicine 1934
George Hoyt Whipple, George Richards Minot and William Parry Murphy
“for their discoveries concerning liver therapy in cases of anaemia”
The Nobel Prize in Literature 1934
Luigi Pirandello
“for his bold and ingenious revival of dramatic and scenic art”
The Nobel Peace Prize 1934
Arthur Henderson
1933
The Nobel Prize in Physics 1933
Erwin Schrödinger and Paul Adrien Maurice Dirac
“for the discovery of new productive forms of atomic theory”
The Nobel Prize in Chemistry 1933
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1933
Thomas Hunt Morgan
“for his discoveries concerning the role played by the chromosome in heredity”
The Nobel Prize in Literature 1933
Ivan Alekseyevich Bunin
“for the strict artistry with which he has carried on the classical Russian traditions in prose writing”
The Nobel Peace Prize 1933
Sir Norman Angell (Ralph Lane)
1932
The Nobel Prize in Physics 1932
Werner Karl Heisenberg
“for the creation of quantum mechanics, the application of which has, inter alia, led to the discovery of the allotropic forms of hydrogen”
The Nobel Prize in Chemistry 1932
Irving Langmuir
“for his discoveries and investigations in surface chemistry”
The Nobel Prize in Physiology or Medicine 1932
Sir Charles Scott Sherrington and Edgar Douglas Adrian
“for their discoveries regarding the functions of neurons”
The Nobel Prize in Literature 1932
John Galsworthy
“for his distinguished art of narration which takes its highest form in The Forsyte Saga”
The Nobel Peace Prize 1932
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1931
The Nobel Prize in Physics 1931
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Chemistry 1931
Carl Bosch and Friedrich Bergius
“in recognition of their contributions to the invention and development of chemical high pressure methods”
The Nobel Prize in Physiology or Medicine 1931
Otto Heinrich Warburg
“for his discovery of the nature and mode of action of the respiratory enzyme”
The Nobel Prize in Literature 1931
Erik Axel Karlfeldt
“The poetry of Erik Axel Karlfeldt”
The Nobel Peace Prize 1931
Jane Addams
Nicholas Murray Butler
1930
The Nobel Prize in Physics 1930
Sir Chandrasekhara Venkata Raman
“for his work on the scattering of light and for the discovery of the effect named after him”
The Nobel Prize in Chemistry 1930
Hans Fischer
“for his researches into the constitution of haemin and chlorophyll and especially for his synthesis of haemin”
The Nobel Prize in Physiology or Medicine 1930
Karl Landsteiner
“for his discovery of human blood groups”
The Nobel Prize in Literature 1930
Sinclair Lewis
“for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters”
The Nobel Peace Prize 1930
Lars Olof Jonathan (Nathan) Söderblom
1929
The Nobel Prize in Physics 1929
Prince Louis-Victor Pierre Raymond de Broglie
“for his discovery of the wave nature of electrons”
The Nobel Prize in Chemistry 1929
Arthur Harden and Hans Karl August Simon von Euler-Chelpin
“for their investigations on the fermentation of sugar and fermentative enzymes”
The Nobel Peace Prize 1929
Frank Billings Kellogg
1928
The Nobel Prize in Chemistry 1928
Adolf Otto Reinhold Windaus
“for the services rendered through his research into the constitution of the sterols and their connection with the vitamins”
The Nobel Prize in Physiology or Medicine 1928
Charles Jules Henri Nicolle
“for his work on typhus”
The Nobel Prize in Literature 1928
Sigrid Undset
“principally for her powerful descriptions of Northern life during the Middle Ages”
The Nobel Peace Prize 1928
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1927
The Nobel Prize in Physics 1927
Arthur Holly Compton
“for his discovery of the effect named after him”
Charles Thomson Rees Wilson
“for his method of making the paths of electrically charged particles visible by condensation of vapour”
The Nobel Prize in Chemistry 1927
Heinrich Otto Wieland
“for his investigations of the constitution of the bile acids and related substances”
The Nobel Prize in Physiology or Medicine 1927
Julius Wagner-Jauregg
“for his discovery of the therapeutic value of malaria inoculation in the treatment of dementia paralytica”
The Nobel Prize in Literature 1927
Henri Bergson
“in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented”
The Nobel Peace Prize 1927
Ferdinand Buisson
Ludwig Quidde
1926
The Nobel Prize in Physics 1926
Jean Baptiste Perrin
“for his work on the discontinuous structure of matter, and especially for his discovery of sedimentation equilibrium”
The Nobel Prize in Chemistry 1926
The (Theodor) Svedberg
“for his work on disperse systems”
The Nobel Prize in Physiology or Medicine 1926
Johannes Andreas Grib Fibiger
“for his discovery of the Spiroptera carcinoma”
The Nobel Prize in Literature 1926
Grazia Deledda
“for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general”
The Nobel Peace Prize 1926
Aristide Briand
Gustav Stresemann
1925
The Nobel Prize in Physics 1925
James Franck and Gustav Ludwig Hertz
“for their discovery of the laws governing the impact of an electron upon an atom”
The Nobel Prize in Chemistry 1925
Richard Adolf Zsigmondy
“for his demonstration of the heterogenous nature of colloid solutions and for the methods he used, which have since become fundamental in modern colloid chemistry”
The Nobel Prize in Physiology or Medicine 1925
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1925
George Bernard Shaw
“for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”
The Nobel Peace Prize 1925
Sir Austen Chamberlain
Charles Gates Dawes
1924
The Nobel Prize in Physics 1924
Karl Manne Georg Siegbahn
“for his discoveries and research in the field of X-ray spectroscopy”
The Nobel Prize in Chemistry 1924
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1924
Willem Einthoven
“for his discovery of the mechanism of the electrocardiogram”
The Nobel Prize in Literature 1924
Wladyslaw Stanislaw Reymont
“for his great national epic, The Peasants”
The Nobel Peace Prize 1924
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1923
The Nobel Prize in Physics 1923
Robert Andrews Millikan
“for his work on the elementary charge of electricity and on the photoelectric effect”
The Nobel Prize in Chemistry 1923
Fritz Pregl
“for his invention of the method of micro-analysis of organic substances”
The Nobel Prize in Physiology or Medicine 1923
Frederick Grant Banting and John James Rickard Macleod
“for the discovery of insulin”
The Nobel Prize in Literature 1923
William Butler Yeats
“for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”
The Nobel Peace Prize 1923
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1922
The Nobel Prize in Physics 1922
Niels Henrik David Bohr
“for his services in the investigation of the structure of atoms and of the radiation emanating from them”
The Nobel Prize in Chemistry 1922
Francis William Aston
“for his discovery, by means of his mass spectrograph, of isotopes, in a large number of non-radioactive elements, and for his enunciation of the whole-number rule”
The Nobel Prize in Physiology or Medicine 1922
Archibald Vivian Hill
“for his discovery relating to the production of heat in the muscle”
Otto Fritz Meyerhof
“for his discovery of the fixed relationship between the consumption of oxygen and the metabolism of lactic acid in the muscle”
The Nobel Prize in Literature 1922
Jacinto Benavente
“for the happy manner in which he has continued the illustrious traditions of the Spanish drama”
The Nobel Peace Prize 1922
Fridtjof Nansen
1921
The Nobel Prize in Physics 1921
Albert Einstein
“for his services to Theoretical Physics, and especially for his discovery of the law of the photoelectric effect”
The Nobel Prize in Chemistry 1921
Frederick Soddy
“for his contributions to our knowledge of the chemistry of radioactive substances, and his investigations into the origin and nature of isotopes”
The Nobel Prize in Physiology or Medicine 1921
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1921
Anatole France
“in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament”
The Nobel Peace Prize 1921
Karl Hjalmar Branting
Christian Lous Lange
1920
The Nobel Prize in Physics 1920
Charles Edouard Guillaume
“in recognition of the service he has rendered to precision measurements in Physics by his discovery of anomalies in nickel steel alloys”
The Nobel Prize in Chemistry 1920
Walther Hermann Nernst
“in recognition of his work in thermochemistry”
The Nobel Prize in Physiology or Medicine 1920
Schack August Steenberg Krogh
“for his discovery of the capillary motor regulating mechanism”
The Nobel Prize in Literature 1920
Knut Pedersen Hamsun
“for his monumental work, Growth of the Soil”
The Nobel Peace Prize 1920
Léon Victor Auguste Bourgeois
1919
The Nobel Prize in Physics 1919
Johannes Stark
“for his discovery of the Doppler effect in canal rays and the splitting of spectral lines in electric fields”
The Nobel Prize in Chemistry 1919
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1919
Jules Bordet
“for his discoveries relating to immunity”
The Nobel Prize in Literature 1919
Carl Friedrich Georg Spitteler
“in special appreciation of his epic, Olympian Spring”
The Nobel Peace Prize 1919
Thomas Woodrow Wilson
1918
The Nobel Prize in Physics 1918
Max Karl Ernst Ludwig Planck
“in recognition of the services he rendered to the advancement of Physics by his discovery of energy quanta”
The Nobel Prize in Chemistry 1918
Fritz Haber
“for the synthesis of ammonia from its elements”
The Nobel Prize in Physiology or Medicine 1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Peace Prize 1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1917
The Nobel Prize in Physics 1917
Charles Glover Barkla
“for his discovery of the characteristic Röntgen radiation of the elements”
The Nobel Prize in Chemistry 1917
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1917
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1917
Karl Adolph Gjellerup
“for his varied and rich poetry, which is inspired by lofty ideals”
Henrik Pontoppidan
“for his authentic descriptions of present-day life in Denmark”
The Nobel Peace Prize 1917
Comité international de la Croix Rouge (International Committee of the Red Cross)
1916
The Nobel Prize in Physics 1916
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Chemistry 1916
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Physiology or Medicine 1916
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1916
Carl Gustaf Verner von Heidenstam
“in recognition of his significance as the leading representative of a new era in our literature”
The Nobel Peace Prize 1916
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1915
The Nobel Prize in Physics 1915
Sir William Henry Bragg and William Lawrence Bragg
“for their services in the analysis of crystal structure by means of X-rays”
The Nobel Prize in Chemistry 1915
Richard Martin Willstätter
“for his researches on plant pigments, especially chlorophyll”
The Nobel Prize in Physiology or Medicine 1915
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1915
Romain Rolland
“as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings”
The Nobel Peace Prize 1915
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
1914
The Nobel Prize in Physics 1914
Max von Laue
“for his discovery of the diffraction of X-rays by crystals”
The Nobel Prize in Chemistry 1914
Theodore William Richards
“in recognition of his accurate determinations of the atomic weight of a large number of chemical elements”
The Nobel Prize in Physiology or Medicine 1914
Robert Bárány
“for his work on the physiology and pathology of the vestibular apparatus”
The Nobel Prize in Literature 1914
No Nobel Prize was awarded this year
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The Nobel Prize in Literature has been awarded 116 times to 120 Nobel Prize laureates between 1901 and 2023. Click on the links to get more information.
Find all prizes in | physics | chemistry | physiology or medicine | literature | peace | economic sciences | all categories
The Nobel Prize in Literature 2024
The Nobel Prize in Literature 2024 will be announced on Thursday 10 October, 13:00 CEST at the earliest.
The Nobel Prize in Literature 2023
“for his innovative plays and prose which give voice to the unsayable”
The Nobel Prize in Literature 2022
“for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory”
The Nobel Prize in Literature 2021
“for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents”
The Nobel Prize in Literature 2020
“for her unmistakable poetic voice that with austere beauty makes individual existence universal”
The Nobel Prize in Literature 2019
“for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience”
The Nobel Prize in Literature 2018
“for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life”
The Nobel Prize in Literature 2017
“who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world”
The Nobel Prize in Literature 2016
“for having created new poetic expressions within the great American song tradition”
The Nobel Prize in Literature 2015
“for her polyphonic writings, a monument to suffering and courage in our time”
The Nobel Prize in Literature 2014
“for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation”
The Nobel Prize in Literature 2013
“master of the contemporary short story”
The Nobel Prize in Literature 2012
“who with hallucinatory realism merges folk tales, history and the contemporary”
The Nobel Prize in Literature 2011
“because, through his condensed, translucent images, he gives us fresh access to reality”
The Nobel Prize in Literature 2010
“for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat”
The Nobel Prize in Literature 2009
“who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed”
The Nobel Prize in Literature 2008
“author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization”
The Nobel Prize in Literature 2007
“that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”
The Nobel Prize in Literature 2006
“who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures”
The Nobel Prize in Literature 2005
“who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms”
The Nobel Prize in Literature 2004
“for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power”
The Nobel Prize in Literature 2003
“who in innumerable guises portrays the surprising involvement of the outsider”
The Nobel Prize in Literature 2002
“for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”
The Nobel Prize in Literature 2001
“for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories”
The Nobel Prize in Literature 2000
“for an œuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama”
The Nobel Prize in Literature 1999
“whose frolicsome black fables portray the forgotten face of history”
The Nobel Prize in Literature 1998
“who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality”
The Nobel Prize in Literature 1997
“who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”
The Nobel Prize in Literature 1996
“for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality”
The Nobel Prize in Literature 1995
“for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past”
The Nobel Prize in Literature 1994
“who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today”
The Nobel Prize in Literature 1993
“who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality”
The Nobel Prize in Literature 1992
“for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment”
The Nobel Prize in Literature 1991
“who through her magnificent epic writing has - in the words of Alfred Nobel - been of very great benefit to humanity”
The Nobel Prize in Literature 1990
“for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity”
The Nobel Prize in Literature 1989
“for a rich and intensive prose, which with restrained compassion forms a challenging vision of man's vulnerability”
The Nobel Prize in Literature 1988
“who, through works rich in nuance - now clear-sightedly realistic, now evocatively ambiguous - has formed an Arabian narrative art that applies to all mankind”
The Nobel Prize in Literature 1987
“for an all-embracing authorship, imbued with clarity of thought and poetic intensity”
The Nobel Prize in Literature 1986
“who in a wide cultural perspective and with poetic overtones fashions the drama of existence”
The Nobel Prize in Literature 1985
“who in his novel combines the poet's and the painter's creativeness with a deepened awareness of time in the depiction of the human condition”
The Nobel Prize in Literature 1984
“for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man”
The Nobel Prize in Literature 1983
“for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today”
The Nobel Prize in Literature 1982
“for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts”
The Nobel Prize in Literature 1981
“for writings marked by a broad outlook, a wealth of ideas and artistic power”
The Nobel Prize in Literature 1980
“who with uncompromising clear-sightedness voices man's exposed condition in a world of severe conflicts”
The Nobel Prize in Literature 1979
“for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness”
The Nobel Prize in Literature 1978
“for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life”
The Nobel Prize in Literature 1977
“for a creative poetic writing which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”
The Nobel Prize in Literature 1976
“for the human understanding and subtle analysis of contemporary culture that are combined in his work”
The Nobel Prize in Literature 1975
“for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions”
The Nobel Prize in Literature 1974
“for a narrative art, far-seeing in lands and ages, in the service of freedom”
“for writings that catch the dewdrop and reflect the cosmos”
The Nobel Prize in Literature 1973
“for an epic and psychological narrative art which has introduced a new continent into literature”
The Nobel Prize in Literature 1972
“for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature”
The Nobel Prize in Literature 1971
“for a poetry that with the action of an elemental force brings alive a continent's destiny and dreams”
The Nobel Prize in Literature 1970
“for the ethical force with which he has pursued the indispensable traditions of Russian literature”
The Nobel Prize in Literature 1969
“for his writing, which - in new forms for the novel and drama - in the destitution of modern man acquires its elevation”
The Nobel Prize in Literature 1968
“for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind”
The Nobel Prize in Literature 1967
“for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”
The Nobel Prize in Literature 1966
“for his profoundly characteristic narrative art with motifs from the life of the Jewish people”
“for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength”
The Nobel Prize in Literature 1965
“for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people”
The Nobel Prize in Literature 1964
“for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age”
The Nobel Prize in Literature 1963
“for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”
The Nobel Prize in Literature 1962
“for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception”
The Nobel Prize in Literature 1961
“for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country”
The Nobel Prize in Literature 1960
“for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time”
The Nobel Prize in Literature 1959
“for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times”
The Nobel Prize in Literature 1958
“for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition”
The Nobel Prize in Literature 1957
“for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”
The Nobel Prize in Literature 1956
“for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity”
The Nobel Prize in Literature 1955
“for his vivid epic power which has renewed the great narrative art of Iceland”
The Nobel Prize in Literature 1954
“for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style”
The Nobel Prize in Literature 1953
“for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values”
The Nobel Prize in Literature 1952
“for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life”
The Nobel Prize in Literature 1951
“for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind”
The Nobel Prize in Literature 1950
“in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”
The Nobel Prize in Literature 1949
“for his powerful and artistically unique contribution to the modern American novel”
The Nobel Prize in Literature 1948
“for his outstanding, pioneer contribution to present-day poetry”
The Nobel Prize in Literature 1947
“for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight”
The Nobel Prize in Literature 1946
“for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style”
The Nobel Prize in Literature 1945
“for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”
The Nobel Prize in Literature 1944
“for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style”
The Nobel Prize in Literature 1943
“No Nobel Prize was awarded this year. 1/3 of the prize money was allocated to the main fund and 2/3 was allocated to the special fund of this prize section”
The Nobel Prize in Literature 1942
“No Nobel Prize was awarded this year. 1/3 of the prize money was allocated to the main fund and 2/3 was allocated to the special fund of this prize section”
The Nobel Prize in Literature 1941
“No Nobel Prize was awarded this year. 1/3 of the prize money was allocated to the main fund and 2/3 was allocated to the special fund of this prize section”
The Nobel Prize in Literature 1940
“No Nobel Prize was awarded this year. 1/3 of the prize money was allocated to the main fund and 2/3 was allocated to the special fund of this prize section”
The Nobel Prize in Literature 1939
“for his deep understanding of his country's peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature”
The Nobel Prize in Literature 1938
“for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces”
The Nobel Prize in Literature 1937
“for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault”
The Nobel Prize in Literature 1936
“for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy”
The Nobel Prize in Literature 1935
“No Nobel Prize was awarded this year. 1/3 of the prize money was allocated to the main fund and 2/3 was allocated to the special fund of this prize section”
The Nobel Prize in Literature 1934
“for his bold and ingenious revival of dramatic and scenic art”
The Nobel Prize in Literature 1933
“for the strict artistry with which he has carried on the classical Russian traditions in prose writing”
The Nobel Prize in Literature 1932
“for his distinguished art of narration which takes its highest form in The Forsyte Saga”
The Nobel Prize in Literature 1931
“The poetry of Erik Axel Karlfeldt”
The Nobel Prize in Literature 1930
“for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters”
The Nobel Prize in Literature 1929
“principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature”
The Nobel Prize in Literature 1928
“principally for her powerful descriptions of Northern life during the Middle Ages”
The Nobel Prize in Literature 1927
“in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented”
The Nobel Prize in Literature 1926
“for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general”
The Nobel Prize in Literature 1925
“for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”
The Nobel Prize in Literature 1924
“for his great national epic, The Peasants”
The Nobel Prize in Literature 1923
“for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”
The Nobel Prize in Literature 1922
“for the happy manner in which he has continued the illustrious traditions of the Spanish drama”
The Nobel Prize in Literature 1921
“in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament”
The Nobel Prize in Literature 1920
“for his monumental work, Growth of the Soil”
The Nobel Prize in Literature 1919
“in special appreciation of his epic, Olympian Spring”
The Nobel Prize in Literature 1918
“No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section”
The Nobel Prize in Literature 1917
“for his varied and rich poetry, which is inspired by lofty ideals”
“for his authentic descriptions of present-day life in Denmark”
The Nobel Prize in Literature 1916
“in recognition of his significance as the leading representative of a new era in our literature”
The Nobel Prize in Literature 1915
“as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings”
The Nobel Prize in Literature 1914
“No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section”
The Nobel Prize in Literature 1913
“because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West”
The Nobel Prize in Literature 1912
“primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art”
The Nobel Prize in Literature 1911
“in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations”
The Nobel Prize in Literature 1910
“as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories”
The Nobel Prize in Literature 1909
“in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings”
The Nobel Prize in Literature 1908
“in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life”
The Nobel Prize in Literature 1907
“in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author”
The Nobel Prize in Literature 1906
“not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces”
The Nobel Prize in Literature 1905
“because of his outstanding merits as an epic writer”
The Nobel Prize in Literature 1904
“in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist”
“in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”
The Nobel Prize in Literature 1903
“as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit”
The Nobel Prize in Literature 1902
“the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
The Nobel Prize in Literature 1901
“in special recognition of his poetic composition, which gives evidence of lofty idealism, artistic perfection and a rare combination of the qualities of both heart and intellect”
To cite this section
MLA style: All Nobel Prizes in Literature. NobelPrize.org. Nobel Prize Outreach AB 2024. Thu. 25 Jul 2024. <https://www.nobelprize.org/prizes/lists/all-nobel-prizes-in-literature>
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Odysseus Elytis (pen-name for Odysseus Alepoudhelis), Nobel Prize in Literature 1979, was born in 1911 at Herakleion in Crete. The family, which originally came from Lesbos, moved in 1914 to Athens, where Elytis, after leaving school, began to read law. He broke off his studies, however, and devoted himself entirely to his literary and artistic interests. He got to know the foremost advocate in Greece of surrealism, the poet Andreas Embirikos, who became his lifelong friend. As time went on impulses from Embirikos and others became merged with Elytis’ Greek-Byzantine cultural tradition. In 1935 he published his first poems in the magazine Nea Ghrámmata (New Letters) and also took part – with collages – in the first international surrealist exhibition arranged that year in Athens. In 1936 and 1937, in the magazine Makedhonikés Iméres (Macedonian Days) followed a collection of poems with the title Prosanatolizmoí (Orientations), in book form 1939, I klepsídhres tou aghnóstou (Hourglass of the Unknown) and, in 1943, Ilios o prótos (Sun the First).
Deeply felt experiences from the war lie behind the work that made Elytis famous as one of the most prominent poets of the Greek resistance and struggle for freedom: Ásma iroikó ke pénthimo yia ton haméno anthipolohaghó tis Alvanías (Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign) 1945.
After the war Elytis was engaged in various public assignments (among other things he was head of programs at the radio) and, apart from literary and art criticism, published very little for more than ten years. The work begun in 1948, To Áxion Estí (Worthy It Is), did not appear until 1959. The years 1948-52 he spent in Paris and travelling. He came in close contact with writers like Breton, Eluard, Char, Jouve and Michaux and with artists such as Matisse, Picasso and Giacometti. The poetic cycle To Áxion Estí (with introductory words taken from the Greek-Orthodox liturgy) has come to be recognized as Elytis’s greatest work. It has been translated into several languages and in 1960 was awarded the National Prize in Poetry. It was set to music by Míkis Theodorákis in 1964.
Of later works – in several cases illustrated by the author himself or by his friends Picasso, Matisse, Ghika, Tsarouchis and others – can be mentioned: Exi ke miá típsis yia ton uranó (Six and One Remorses for the Sky) 1960, O ílios o iliátoras (The Sovereign Sun) and To monoghramma (The Monogram), both 1971, Ta ro tou érota (The Ro of Eros) 1972, Villa Natacha 1973, Maria Neféli 1979, and the collection of essays with a personal touch Anihtá hártia (Open Book) 1974. “Selected Writings;” (with collages by the author) recently appeared, and no less than three entirely new works await publication.
Translations of Elytis’s poems have been printed in literary magazines and anthologies, but can also be found in a number of separate volumes:In English:
The Sovereign Sun: Selected poems. Kimon Friar, transl. Philadelphia: Temple Univ. Press, 1974.
The Axion Esti (bilingual ed.) Edmund Keeley Georges Savidis, transl. Pittsburgh: Univ. of Pittsburgh Press, 1974.
In French:
Six plus un remords pour le ciel. Texte francais de F.B. Mache. Montpellier: Fata Morgana, 1977.
In Italian:
Poesie. Trad. Mario Vitti. Roma 1952.
21 poesie. Trad. Vincenzo Rotolo. Palermo: Ist. Siciliano di Studi Bizantini e Neoellenici, 1968.
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Odysseas Elytis
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https://en.wikipedia.org/wiki/Odysseas_Elytis
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Greek poet and art critic
Odysseas Elytis (Greek: Οδυσσέας Ελύτης [oðiˈseas eˈlitis], pen name of Odysseas Alepoudellis, Greek: Οδυσσέας Αλεπουδέλλης; 2 November 1911 – 18 March 1996) was a Greek poet, man of letters, essayist and translator, regarded as the definitive exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century,[3] with his Axion Esti "regarded as a monument of contemporary poetry".[4] In 1979, he was awarded the Nobel Prize in Literature.[5]
Descendants of the Alepoudelis, whose name going back was Alepos and even further back connected to the revolutionary Lemonis in Lesbos, Panayiotis Alepoudelis and his younger brother Thrasyboulos were both born in the village Kalamiaris of Panagiouthas of Lesbos. Their family had become well-established the industries of soap manufacturing and olive oil production in Heraklion, Crete in 1895. In 1897 Panagyiotis married Maria E. Vrana (1880-1960) from the village Papados of Geras, Lesbos. From this union and as the last of six siblings, Odysseas was born in the early hours of 2 November 1911. He is pictured on the far left wearing a sailor's uniform in the photo of his family. The Alepoudelis later moved to Athens, where his father re-situated the soap factory in Piraeus. In 1918 his older sister and first born Myrsene (1898-1918) died in the Spanish influenza. While on summer holidays from their Athens home as guests on the island of Spetses in the Haramis home in the St Nicolaos neighbourhood his own father also died in the summer of 1925 from pneumonia. His father Panayiotis may have been the inspiration for Elytis to write. Apparently his father wrote poetry and it remained unpublished. In 1927 wrought with overtiredness Odysseas was diagnosed with tuberculosis. While in bed recuperating he voraciously read all the Greek poetry he could and in this year discovered Cavafy. In 1928 he graduated from high school and successfully passed the difficult entrance exams to law school at University of Athens. He read in the newspapers of the suicide of the poet Karyiotakis. In 1929 Elytis took a sabbatical between high school and university and decided secretly that he must only become a poet. In 1930 he and his family moved to Moshoniseon 148. Elytis had initial aspirations to become a lawyer but did not sit for his final examinations and did not get his legal qualification. He also had expressed aspirations to become a painter in the manner of the surrealists but his family quickly thwarted this idea. Around this timeframe Elytis noticed and noted that the month surrounding the Ides Of March was not good for him and was cautious while tracking it for the rest of his life.[6]
In 1935 Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. In the same year he also became a lifelong friend of writer and psychoanalyst Andreas Embiricos, who allowed him to have access to his vast library of books. In 1977, two years after the death of his friend, Elytis wrote a tribute book to Embiricos from within the commonalities that founded their ideas aptly titled "Reference to Andreas Embiricos" and originally published by Tram publishers Thessaloniki. His entry to the magazine "New Letters" in 1935 was in November which was the 11th issue and with his pseudonym Elytis established therein. With a distinctively earthy and original form in his expression, Elytis assisted inaugurating a new era in Greek poetry and its subsequent reform after the Second World War.[6] In 1960 his older brother Constantine (1905-1960) died, followed by his mother, Maria Vrana Alepoudelis. Elytis was simultaneously awarded the First National Prize for poetry for his work "Axion Esti".
In 1967 Elytis travelled to Egypt, visiting Alexandria, Cairo, Luxor and Aswan. Returning to Greece in March, he finished his piecing together of the fragments of Sappho's verses translated into modern Greek and brought them together with his own diaphanous iconography. These were published finally in 1984 without the drawings which are deposited separately in the archives of the American School of Classical Studies along with the original manuscripts of the initial translations of Sappho. With the April 21st military dictatorship in force, Elytis disappeared from public view.At the time of the dictatorship he lived at Skoufa 26 and upon his return from Paris in 1972 he moved to Skoufa 23 to a fifth floor apartment, his final residence in Athens before he died.
From 1969 to 1972, under the Greek military junta of 1967–1974, Elytis exiled himself to Paris after he refused money from the junta and established a modest residence there.[6] In Paris he lived with the English philologist, lyricist and musicologist Marianina Kriezi (1947-2022), who subsequently produced and hosted the legendary children's radio broadcast "Here Lilliput Land". Kriezi was extraordinary, having published a book of poems at the age of fourteen. The title of The book was "Rhythms and Beats" and she sent a first edition copy to George Seferis along with a hand written letter asking him to write a page of his poetry in long hand in fountain pen and gift it to her. Apparently she was going to put across from her bed and see it every morning when she awoke for the rest of her life treasuring the words of poetry. The irony is that she met up with Elytis who was in contrast to the cerebral Seferis, unmarried and a poet of the senses. There is speculation that Kriezi and Elytis were secretly married in Paris but with their return to Greece their French marriage was invalidated and they separated, never divorcing. When Elytis died, however, he was buried wearing the silver wedding band that had the name "Marianina" engraved inside it. The silver ring is on the cover of "Analogies of Light" within a picture that shows only the author's hands writing inside a book. Ivar Ivask also noted the presence of the photo of Kriezi [a muse inside a silver frame across from the photo of his mother] in the home of Elytis when editing the aforementioned book. On the day he died three photographs of women that he had loved and influenced him were in his small apartment. In his bedroom the black and white photo of his mother was by his left bedside table and the photo of Kriezi taken in Paris in the late sixties was across from his bed on the left entering from the living room. In the living room on top of the fancy dresser drawers was a colour photo of Anita Mozas (born in Toronto in 1957) who had first met the poet in 1973 and then interviewed him for the CBC radio in early 1980. Elytis made her his authorized biographer in 1987 and stated she understood him as Dora Maar had understood Picasso. Francoise Gilot supported the decision of Elytis to make Anita Mozas his biographer after having met her and become friends with her.
In 1937 he served his military requirements. As an army cadet, he joined the National Military School in Corfu. He assisted Frederica of Hanover off the train and on to Greek soil personally when she arrived from Germany to marry hereditary Prince Paul. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters, then transferred to the 24th Regiment, on the first-line of the battlefields. In 1941, he contracts an acute case of typhus abdominalis and is transferred to the Ioanina Hospital into the pathology unit for officers. Elytis came very close to his death here and was given the options between staying at the hospital and be a prisoner when the Germans fully invaded and occupied Greece, or be transferred with the risk of intestinal perforation and hemorrhage. On the eve of the invasion of the German armies, he decided to be transferred to Aigrinio and from there eventually back to Athens where he made a slow but steady recovery during the German occupation. He began to outline poetry for his eventual work "Sun The First"; in Alexandria Seferis delivered a lecture on Elytis and Antoniou. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world.[6]
He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.[7]
He was twice Programme Director of the Greek National Radio Foundation (1945–46 and 1953–54), Member of the Greek National Theatre's Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourists' Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
In 1948–1952 and 1969–1972 he lived in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Francoise Gilot, Chagall, Giacometti) as Tériade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean-Paul Sartre, Francoise Gilot, René Daumal) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations". Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.[6]
In 1961, upon an invitation of the State Department, he traveled through the USA from March to June to New York Washington New Orleans Santa Fe Los Angeles San Francisco Boston Buffalo Chicago His return was to Paris to meet up with Teriade and then to Greece — Upon similar invitations in 1962 with Andreas Embiricos and Yiorgos Theotokas (1905-1966) through the Soviet Union to Odessa Moscow and Leningrad. Elytis did not like Yevgeny Yevtushenko when they were introduced but appreciated Voznesensky That summer he spent part of his holidays on Corfu Island and the rest on Lesbos where he and Teriade, who had returned from Paris, were establishing the foundations of a museum dedicated to the painter Theophilos. In 1964 the inaugural performance of the oratorio to the poetry of the Axion Esti as set to music by MIkis Theodorakis was held. In 1965 he completes the essays that will be comprised as the book "The Open Papers" and in that summer visits the Greek islands yet again. He visited Bulgaria in 1965[6] with his friend Yiorgos Theotokas on the invitation of the Union of Bulgarian Authors; it would be their final journey together as Theotokas would die in October 1966. Their guide throughout this country was the poet Elisaveta Bagryana (1893-1991, who had been nominated three times until then for the Nobel prize in Literature. In 1965 he was also bestowed with the Phoenix Cross, the highest honour of the Greek nation.
Elytis was a believer and follower of numerology in all its forms: Biblical, Kabbalah, Chaldean and Pythagorean. He also believed in vedic astrology and held certain beliefs of Hinduism to be true. Pablo Picasso had given him three instructions about the course of life which he attempted to uphold sacrosanct. Elytis was beset with the untimely death of friends and relatives throughout his life: Yiorgos Theotokas, George Seferis, Andreas Embiricos, George Sarandaris. Of all the deaths that happened, Karydis, his publisher at Ikaros, shook him up the most. Elytis had cordial relations with Yiannis Ritsos and close ties with his best friend Nikos Gatsos, both poets of the same generation.
Odysseas Elytis had been completing plans to travel overseas to see friends when he died of a heart failure in Athens on 18 March 1996, at the age of 84. He had made it known that he was a believer in cremation and had wished that somehow he could have been cremated which the tenets of his Greek Orthodox religion do not support or allow. He was also a supporter of the legalization of euthanasia for people who wished to die after pain and suffering. And he believed it was a woman's right to choose abortion in any circumstance. In the last ten years of his life he lived with a companion, Ioulita Iliopoulou [nee Sofia Iliopoulou, daughter of Dimitrios and Demetra July 1, 1965] who was 53 years his junior. Iliopoulou is an activist for children throughout the world imparting her knowledge whenever she is able to. She is a successful artist in her own right, translating and composing her own works and giving poetry recitals at the Theocharakis Foundation in Athens.
Elytis died in his Athens apartment on March 18, 1996, of heart failure. The funeral was held the next day. The funeral was jammed with people who had loved his poetry. He was buried in a family grave beside his family, including his mother and brother.
Iliopoulou, as his life partner, inherited the immovable property in real estate of Elytis which consisted of four apartments and the trustee power of copyrights to his work. She has been promoting Elytis with excellence in his legacy. Elytis was survived in his bloodline by his niece Myrsene (from his oldest brother Theodoros born 1900) and his next in line older brother Evangelos. This brother (born 1909-2002) also received a writ of condolence from the mayor of Athens on behalf of the nation at the funeral at the First Cemetery of Athens.
Elytis' poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarefied and passionate. He borrowed certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today's Hellenism, of which he attempted—in a certain way based on psychical and sentimental aspects—to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people's conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a "worshiper" -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work It Is Truly Meet (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Orientations (Προσανατολισμοί, 1939)
Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1962)
To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
The Trills of Love (Τα Ρω του Έρωτα, 1973)
Villa Natacha {published in Thessaloniki by Tram and dedicated to E Terade 1973]
The Monogram (Το Μονόγραμμα, 1972)
Step-Poems (Τα Ετεροθαλή, 1974)
Signalbook (Σηματολόγιον, 1977)
Maria Nefeli (Μαρία Νεφέλη, 1978)
Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
Krinagoras (Κριναγόρας, 1987)
The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
West of Sadness (Δυτικά της λύπης, 1995)
The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
2x7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
(Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
Reference to Andreas Embeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
Things Public and Private (Τα Δημόσια και τα Ιδιωτικά, 1990)
Private Way (Ιδιωτική Οδός, 1990)
Carte Blanche («Εν λευκώ» (συλλογή κειμένων), 1992)
The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Open Papers: Selected Essays (Copper Canyon Press, 1995) (translated by Olga Broumas and T. Begley)
The Room with the Pictures (Το δωμάτιο με τις εικόνες, 1986) – collages by Odysseas Elytis, text by Evgenios Aranitsis
Second Writing (Δεύτερη γραφή, 1976)
Sappho (Σαπφώ)
The Apocalypse (by John) (Η αποκάλυψη, 1985)
Poesie. Procedute dal Canto eroico e funebre per il sottotenente caduto in Albania. Trad. Mario Vitti (Roma. Il Presente. 1952)
21 Poesie. Trad. Vicenzo Rotolo (Palermo. Istituto Siciliano di Studi Bizantini e Neoellenici. 1968)
Poèmes. Trad. Robert Levesque (1945)
Six plus un remords pourle ciel. Trad. F. B. Mache (Fata Morgana. Montpellier 1977)
Körper des Sommers. Übers. Barbara Schlörb (St. Gallen 1960)
Sieben nächtliche Siebenzeiler. Übers. Günter Dietz (Darmstadt 1966)
To Axion Esti – Gepriesen sei. Übers. Günter Dietz (Hamburg 1969)
The Axion Esti. Tr. E. Keeley and G. Savidis (Pittsburgh 1974 – Greek & English)(repr. London: Anvil Press, 1980 – English only)
Lofwaardig is. Vert. Guido Demoen (Ghent 1989–1991)
The Sovereign Sun: selected poems. Tr. K. Friar (1974; repr. 1990)
Selected poems. Ed. E. Keeley and Ph. Sherrard (1981; repr. 1982, 1991)
Maria Nephele, tr. A. Anagnostopoulos (1981)
Çılgın Nar Ağacı, tr. C. Çapan (Istanbul: Adam Yayınları, 1983)
What I love: selected poems, tr. O. Broumas (1986) [Greek & English texts]
To Àxion Estí, tr. Rubén J. Montañés (Valencia: Alfons el Magnànim, 1992) [Catalan & Greek edition with notes]
Eros,Eros,Eros, Selected & Last Poems, tr. Olga Broumas (Copper Canyon Press, 1998)
The Collected Poems of Odysseus Elytis, tr. Jeffrey Carson & Nikos Sarris (The Johns Hopkins University Press, 1997, 2004)
The Oxopetra Elegies and West of Sorrow, tr. David Connolly (Harvard University Press - 2014) (Greek & English texts)
From Nobel Lectures, Literature 1968–1980, Editor-in-Charge: Tore Frängsmyr, Editor: Sture Allén, World Scientific Publishing Co., Singapore, 1993.
Mario Vitti: Odysseus Elytis. Literature 1935–1971 (Icaros 1977)
Tasos Lignadis: Elytis' Axion Esti (1972)
Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
Odysseas Elytis: Analogies of Light. Ed. I. Ivask (1981)
A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis' Variations on a theme (1982)
E. Keeley: Elytis and the Greek Tradition (1983)
Ph. Sherrard: 'Odysseus Elytis and the Discovery of Greece', in Journal of Modern Greek Studies, 1(2), 1983
K. Malkoff: 'Eliot and Elytis: Poet of Time, Poet of Space', in Comparative Literature, 36(3), 1984
A. Decavalles: 'Odysseus Elytis in the 1980s', in World Literature Today, 62(l), 1988
I. Loulakaki-Moore: Seferis and Elytis as Translators. (Oxford: Peter Lang, 2010)
|
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correct_award_00067
|
FactBench
|
2
| 9
|
https://www.bloodaxebooks.com/ecs/product/the-sovereign-sun-1272
|
en
|
The Sovereign Sun
|
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Odysseus Elytis (1911-96) won the Nobel Prize in Literature in 1979. With Seferis and the 'Generation of the Thirties', he introduced French Surrealism into Greek poetry. Kimon Friar’s classic translation The Sovereign Sun begins with his brilliantly sensuous early poems. It has large selections from his master work, Axion Esti (1959), and includes the whole of his Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign (1945). His Nobel Prize citation stated: ‘Against the background of Greek tradition, his poetry depicts with sensuous strength and clearsightedness modern man's struggle for freedom and creativeness.’
'He has a romantic and lyrical mind, which deploys a metaphysic of complete intellectual sensuality-the rocks, the islands, the blue Greek sea, the winds; they are at once "real" and also "signatures" in the alchemical sense. He makes his magic with them, and it is peculiarly Greek magic that he makes. His poems are spells, and they conjure up that eternal Greek world which has haunted and continues to haunt the European consciousness with its hints of a perfection that always remains a possibility. The Greek poet aims his heart and his gift directly at the sublime - for nothing else will do. How lucky, too, that he has found in Kimon Friar a translator who can transplant his poetry into English, so that its freshness and spontaneity still shock and delight.' – Lawrence Durrell
'I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood.' – Odysseus Elytis
Reissue available September 2020
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correct_award_00067
|
FactBench
|
2
| 8
|
https://freecityrhymes.substack.com/p/odysseus-elytis-the-axion-esti
|
en
|
Odysseus Elytis - The Axion Esti
|
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] |
2022-03-04T21:57:25+00:00
|
The Small World the Great!
|
en
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https://substackcdn.com/icons/substack/favicon.ico
|
https://freecityrhymes.substack.com/p/odysseus-elytis-the-axion-esti
|
According to my receipts, I purchased a collection of Odysseus Elytis (also spelt Odysseas), Selected Poems 1940-1979, at the beginning of 2021 at a time when I was actively trying to make up for the fact that I barely read anything in 2020. (Lockdown freed me up to read more, theoretically, but it also destroyed my ability to concentrate.) Most of the poems in that collection went ‘in one ear and out the other,’ which I chalked up to a combination of (1) cultural difference since Elytis’ poems are obviously very much a celebration of all things Greece (I’d wager 80% of the poems mentions at least one of the following: the sun, the river, herbs, olives, figs, grapes or pomegranates) and (2) the impossible task of translating poetry in the first place (I’m going to go on a limb here and say “PRAISED BE […] the shit of children with its green flies” sounded better in the original Greek).
It wasn’t until my second read-through where I noticed another issue, which is that translators and poem-selectors Edmund Keeley and Philip Sherrard combed through Elytis’ longer poems like The Axion Esti and Maria Nefeli and presented only bits and pieces of them, no doubt to present as much of Elytis’ various periods as possible but having the unintended consequence of not doing his best work justice.
I’m no expert on Greek poetry, and as far as I can tell, Odysseus Elytis is celebrated for being one of the best Greek modernists. In their introduction to Selected Poems 1940-1979, Keeley and Sherrard note the great paradox of being a Greek poet: “in the mind of the educated and poetry-reading Westerner, Greece has inevitably been identified with classical Greece, especially in the form attributed to it at the time of the Renaissance. This has meant that Greek poets have been laboring under the shadow of their illustrious forbears, a circumstance that has either concealed them altogether or implied that they could not be recognized unless they conformed to an image that in many ways is totally alien to them” (1981). Thus, Odysseus Elytis’ great contribution to Greek poetry and/or 20th century poetry was that he helped bridge tradition into modernity.
One obvious example of how he did that was that he barely bothered with Greek mythology, distancing himself from Greek poets that came before. In an interview published with Ivar Ivask in the mid-70s, Elytis said clearly, “No doubt it is advantageous for a Greek poet to employ ancient myths, because he thus becomes more accessible to foreign readers. A Greek poet who speaks of Antigone, Oedipus, et cetera, moves in an area which is well-known […] I have reacted against this, often quite consciously […] I kept the mechanism of myth-making but not the figures of mythology” (1975). (There’s a passing mention of Zeus in The Axion Esti which sticks out like a sore thumb given the context of the line and also Elytis’ distancing himself from mythology.)
Born in 1911, Odysseus Elytis started writing and publishing poems in his twenties with persuasion from his friend/poet Giorgos Seferis and would continue to write into the 1940s. Coinciding with the Greek Civil War, Odysseus Elytis wrote nothing for the second half of the 1940s through to almost the end of the 1950s. The Axion Esti, published in December 1959, ended his hiatus with an ambitious three-part poem that marked the beginning of his second period. Whereas his early poems in the 1930 and 1940s could be described as surreal, the poems of his second period show, according to Elytis in that same interview, “greater historic and moral awareness, yet without the loss of vision of the world which marks my first period” (1975).
The Axion Esti is divided into three sections: “The Genesis,” “The Passion,” and “The Gloria,” and can be interpreted very loosely as an autobiography. The first section details Odysseus Elytis’ great love for his own country-slash-this ‘small world the great!’ The second section is the loss of innocence from World War 2, and so the final section is the re-discovery of beauty, or the discovery that beauty still remains. The reason why Keeley and Sherrard’s selection of The Axion Esti on Selected Poems fails Elytis is this: you get some of the words, but not the narrative, and certainly not the subtle shifting in perspective without reading the poem in its entirety.
Whereas “The Genesis” establishes the narrator early on (“There alone I faced / the world / wailing loudly”), the first person in “The Passion” is no longer merely Elytis, but Elytis speaking on behalf of all of Greece, “devastated as I’ve always been by the tribes of the Continents.” Finally, “The Gloria” removes the first person from the equation—indeed, the word ‘I’ appears nowhere there—and Elytis (the writer, not the narrator in the poem) just lists (hyperbole incoming) everything beautiful in the world, including “a cicada that convinced a thousand others / conscience radiant like a summer”; “the heatwave hatching / the beautiful boulders under the bridge”; “the bit of blouse the wind eats.” It reminds me of the Big Thief song “Not” in that it’s not just any of these individual things that are listed, but it’s all of it - all of it is worthy.
The chronology is worth mentioning. In the 1930s, Giorgos Seferis helps convince Odysseus Elytis to start publishing his poems. In 1959, Odysseus Elytis writes The Axion Esti. In 1963, Giorgos Seferis becomes the first Greek writer to win the Nobel Prize while Greek critics debate the merits of The Axion Esti. By 1979, the debate has long ended and Odysseus Elytis becomes the second (and so far only other) Greek writer to win the Nobel.
Bibliography:
Elytis, Odysseus. The Axion Esti. Translated by Edmund Keeley and George Savidis, University of Pittsburgh Press, 1974.
---. Selected Poems 1940-1979. Translated by Edmund Keeley and George Savidis, Anvil Press Poetry Ltd, 1981.
Ivask, Ivar, and Astrid Ivask. “Odysseus Elytis on His Poetry.” Books Abroad, vol. 49, no. 4, University of Oklahoma, 1975, pp. 631–45, https://doi.org/10.2307/40129765.
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correct_award_00067
|
FactBench
|
1
| 57
|
https://libguides.furman.edu/book-awards/nobel
|
en
|
LibGuides at Furman University
|
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Various book awards and links to the books in our collection. Happy reading! The Nobel Prize in Literature has been awarded 108 times to 112 Nobel Laureates between 1901 and 2015..
|
en
|
https://libguides.furman.edu/book-awards/nobel
|
Annie Ernaux “for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory”
The Nobel Prize in Literature 2021
Abdulrazak Gurnah “for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents”
The Nobel Prize in Literature 2020
Louise Glück “for her unmistakable poetic voice that with austere beauty makes individual existence universal”
The Nobel Prize in Literature 2019
Peter Handke “for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience”
The Nobel Prize in Literature 2018
Olga Tokarczuk “for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life”
The Nobel Prize in Literature 2017
Kazuo Ishiguro “who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world”
The Nobel Prize in Literature 2016
Bob Dylan “for having created new poetic expressions within the great American song tradition”
The Nobel Prize in Literature 2015
Svetlana Alexievich “for her polyphonic writings, a monument to suffering and courage in our time”
The Nobel Prize in Literature 2014
Patrick Modiano “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation”
The Nobel Prize in Literature 2013
Alice Munro “master of the contemporary short story”
The Nobel Prize in Literature 2012
Mo Yan “who with hallucinatory realism merges folk tales, history and the contemporary”
The Nobel Prize in Literature 2011
Tomas Tranströmer “because, through his condensed, translucent images, he gives us fresh access to reality”
The Nobel Prize in Literature 2010
Mario Vargas Llosa “for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat”
The Nobel Prize in Literature 2009
Herta Müller “who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed”
The Nobel Prize in Literature 2008
Jean-Marie Gustave Le Clézio “author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization”
The Nobel Prize in Literature 2007
Doris Lessing “that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”
The Nobel Prize in Literature 2006
Orhan Pamuk “who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures”
The Nobel Prize in Literature 2005
Harold Pinter“who in his plays uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms”
The Nobel Prize in Literature 2004
Elfriede Jelinek “for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power”
The Nobel Prize in Literature 2003
John M. Coetzee “who in innumerable guises portrays the surprising involvement of the outsider”
The Nobel Prize in Literature 2002
Imre Kertész “for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”
The Nobel Prize in Literature 2001
Sir Vidiadhar Surajprasad Naipaul “for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories”
The Nobel Prize in Literature 2000
Gao Xingjian “for an æuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama”
The Nobel Prize in Literature 1999
Günter Grass “whose frolicsome black fables portray the forgotten face of history”
The Nobel Prize in Literature 1998
José Saramago who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality”
The Nobel Prize in Literature 1997
Dario Fo “who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”
The Nobel Prize in Literature 1996
Wislawa Szymborska “for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality”
The Nobel Prize in Literature 1995
Seamus Heaney “for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past”
The Nobel Prize in Literature 1994
Kenzaburo Oe “who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today”
The Nobel Prize in Literature 1993
Toni Morrison “who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality”
The Nobel Prize in Literature 1992
Derek Walcott “for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment”
The Nobel Prize in Literature 1991
Nadine Gordimer “who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity”
The Nobel Prize in Literature 1990
Octavio Paz “for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity”
The Nobel Prize in Literature 1989
Camilo José Cela “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”
The Nobel Prize in Literature 1988
Naguib Mahfouz “who, through works rich in nuance – now clear-sightedly realistic, now evocatively ambiguous – has formed an Arabian narrative art that applies to all mankind”
The Nobel Prize in Literature 1987
Joseph Brodsky “for an all-embracing authorship, imbued with clarity of thought and poetic intensity”
The Nobel Prize in Literature 1986
Wole Soyinka “who in a wide cultural perspective and with poetic overtones fashions the drama of existence”
The Nobel Prize in Literature 1985
Claude Simon “who in his novel combines the poet’s and the painter’s creativeness with a deepened awareness of time in the depiction of the human condition”
The Nobel Prize in Literature 1984
Jaroslav Seifert “for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man”
The Nobel Prize in Literature 1983
William Golding “for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today”
The Nobel Prize in Literature 1982
Gabriel García Márquez “for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent’s life and conflicts”
The Nobel Prize in Literature 1981
Elias Canetti “for writings marked by a broad outlook, a wealth of ideas and artistic power”
The Nobel Prize in Literature 1980
Czeslaw Milosz who with uncompromising clear-sightedness voices man’s exposed condition in a world of severe conflicts”
The Nobel Prize in Literature 1979
Odysseus Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”
The Nobel Prize in Literature 1978
Isaac Bashevis Singer “for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life”
The Nobel Prize in Literature 1977
Vicente Aleixandre “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”
The Nobel Prize in Literature 1976
Saul Bellow “for the human understanding and subtle analysis of contemporary culture that are combined in his work”
The Nobel Prize in Literature 1975
Eugenio Montale “for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions”
The Nobel Prize in Literature 1974
Eyvind Johnson “for a narrative art, far-seeing in lands and ages, in the service of freedom”
Harry Martinson “for writings that catch the dewdrop and reflect the cosmos”
The Nobel Prize in Literature 1973
Patrick White “for an epic and psychological narrative art which has introduced a new continent into literature”
The Nobel Prize in Literature 1972
Heinrich Böll “for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature”
The Nobel Prize in Literature 1971
Pablo Neruda “for a poetry that with the action of an elemental force brings alive a continent’s destiny and dreams”
The Nobel Prize in Literature 1970
Aleksandr Isayevich Solzhenitsyn “for the ethical force with which he has pursued the indispensable traditions of Russian literature”
The Nobel Prize in Literature 1969
Samuel Beckett “for his writing, which – in new forms for the novel and drama – in the destitution of modern man acquires its elevation”
The Nobel Prize in Literature 1968
Yasunari Kawabata “for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind”
The Nobel Prize in Literature 1967
Miguel Angel Asturias “for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”
The Nobel Prize in Literature 1966
Shmuel Yosef Agnon “for his profoundly characteristic narrative art with motifs from the life of the Jewish people”
Nelly Sachs“for her outstanding lyrical and dramatic writing, which interprets Israel’s destiny with touching strength”
The Nobel Prize in Literature 1965
Mikhail Aleksandrovich Sholokhov “for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people”
The Nobel Prize in Literature 1964
Jean-Paul Sartre “for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age”
The Nobel Prize in Literature 1963
Giorgos Seferis “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”
The Nobel Prize in Literature 1962
John Steinbeck “for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception”
The Nobel Prize in Literature 1961
Ivo Andric “for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country”
The Nobel Prize in Literature 1960
Saint-John Perse “for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time”
The Nobel Prize in Literature 1959
Salvatore Quasimodo “for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times”
The Nobel Prize in Literature 1958
Boris Leonidovich Pasternak “for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition”
The Nobel Prize in Literature 1957
Albert Camus “for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”
The Nobel Prize in Literature 1956
Juan Ramón Jiménez “for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity”
The Nobel Prize in Literature 1955
Halldór Kiljan Laxness “for his vivid epic power which has renewed the great narrative art of Iceland”
The Nobel Prize in Literature 1954
Ernest Miller Hemingway “for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style”
The Nobel Prize in Literature 1953
Sir Winston Leonard Spencer Churchill “for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values”
The Nobel Prize in Literature 1952
François Mauriac “for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life”
The Nobel Prize in Literature 1951
Pär Fabian Lagerkvist “for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind”
The Nobel Prize in Literature 1950
Earl (Bertrand Arthur William) Russell “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”
The Nobel Prize in Literature 1949
William Faulkner “for his powerful and artistically unique contribution to the modern American novel”
The Nobel Prize in Literature 1948
Thomas Stearns Eliot “for his outstanding, pioneer contribution to present-day poetry”
The Nobel Prize in Literature 1947
André Paul Guillaume Gide “for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight”
The Nobel Prize in Literature 1946
Hermann Hesse “for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style”
The Nobel Prize in Literature 1945
Gabriela Mistral “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”
The Nobel Prize in Literature 1944
Johannes Vilhelm Jensen “for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style”
The Nobel Prize in Literature 1943
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1939
Frans Eemil Sillanpää “for his deep understanding of his country’s peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature”
The Nobel Prize in Literature 1938
Pearl Buck “for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces”
The Nobel Prize in Literature 1937
Roger Martin du Gard “for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault”
The Nobel Prize in Literature 1936
Eugene Gladstone O’Neill “for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy”
The Nobel Prize in Literature 1935
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1934
Luigi Pirandello “for his bold and ingenious revival of dramatic and scenic art”
The Nobel Prize in Literature 1933
Ivan Alekseyevich Bunin “for the strict artistry with which he has carried on the classical Russian traditions in prose writing”
The Nobel Prize in Literature 1932
John Galsworthy “for his distinguished art of narration which takes its highest form in The Forsyte Saga”
The Nobel Prize in Literature 1931
Erik Axel Karlfeldt “The poetry of Erik Axel Karlfeldt”
The Nobel Prize in Literature 1930
Sinclair Lewis “for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters”
The Nobel Prize in Literature 1929
Thomas Mann “principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature”
The Nobel Prize in Literature 1928
Sigrid Undset “principally for her powerful descriptions of Northern life during the Middle Ages”
The Nobel Prize in Literature 1927
Henri Bergson “in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented”
The Nobel Prize in Literature 1926
Grazia Deledda “for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general”
The Nobel Prize in Literature 1925
George Bernard Shaw “for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”
The Nobel Prize in Literature 1924
Wladyslaw Stanislaw Reymont “for his great national epic, The Peasants”
The Nobel Prize in Literature 1923
William Butler Yeats “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”
The Nobel Prize in Literature 1922
Jacinto Benavente “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”
The Nobel Prize in Literature 1921
Anatole France “in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament”
The Nobel Prize in Literature 1920
Knut Pedersen Hamsun “for his monumental work, Growth of the Soil”
The Nobel Prize in Literature 1919
Carl Friedrich Georg Spitteler “in special appreciation of his epic, Olympian Spring”
The Nobel Prize in Literature 1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1917
Karl Adolph Gjellerup “for his varied and rich poetry, which is inspired by lofty ideals”
Henrik Pontoppidan “for his authentic descriptions of present-day life in Denmark”
The Nobel Prize in Literature 1916
Carl Gustaf Verner von Heidenstam “in recognition of his significance as the leading representative of a new era in our literature”
The Nobel Prize in Literature 1915
Romain Rolland “as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings”
The Nobel Prize in Literature 1914
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1913
Rabindranath Tagore “because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West”
The Nobel Prize in Literature 1912
Gerhart Johann Robert Hauptmann “primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art”
The Nobel Prize in Literature 1911
Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck “in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers’ own feelings and stimulate their imaginations”
The Nobel Prize in Literature 1910
Paul Johann Ludwig Heyse “as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories”
The Nobel Prize in Literature 1909
Selma Ottilia Lovisa Lagerlöf “in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings”
The Nobel Prize in Literature 1908
Rudolf Christoph Eucken “in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life”
The Nobel Prize in Literature 1907
Rudyard Kipling “in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author”
The Nobel Prize in Literature 1906
Giosuè Carducci “not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces”
The Nobel Prize in Literature 1905
Henryk Sienkiewicz “because of his outstanding merits as an epic writer”
The Nobel Prize in Literature 1904
Frédéric Mistral “in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist”
José Echegaray y Eizaguirre “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”
The Nobel Prize in Literature 1903
Bjørnstjerne Martinus Bjørnson “as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit”
The Nobel Prize in Literature 1902
Christian Matthias Theodor Mommsen “the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
The Nobel Prize in Literature 1901
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https://www.poetryfoundation.org/poets/odysseus-elytis
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en
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Poetry Foundation
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"Odysseus Elytis"
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Nobel Prize-winning poet Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid…
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//www.poetryfoundation.org/assets/media/images/apple-touch-icon-57x57.png?=1.2.12
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Poetry Foundation
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https://www.poetryfoundation.org/poets/odysseus-elytis
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Nobel Prize-winning poet Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. Although the Swedish Academy of Letters had bestowed the honor upon other previously little-known writers—among them Eugenio Montale, Vicente Aleixandre, and Harry Martison—their choice of Elytis came as a surprise nonetheless. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clearsightedness, modern man’s struggle for freedom and creativeness ... [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition. Elytis later explained the motivations behind his embracing of the French ideals: “Many facets of surrealism I cannot accept, such as its paradoxical side, its championing of automatic writing; but after all, it was the only school of poetry—and, I believe, the last in Europe—which aimed at spiritual health and reacted against the rationalist currents which had filled most Western minds. Since surrealism had destroyed this rationalism like a hurricane, it had cleared the ground in front of us, enabling us to link ourselves physiologically with our soil and to regard Greek reality without the prejudices that have reigned since the Renaissance.”
Thus, Elytis adapted only selected principles of surrealism to his Greek reality. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.” In a review of a later work, O ilios o iliatoras (1971, translated as The Sovereign Sun, 1974), a writer for the Virginia Quarterly Review echoed Keeley’s eloquent praise: “An intuitive poet, who rejects pessimism and engages in his surrealistic images the harsh realities of life, Elytis is a voice of hope and naked vigor. There is light and warmth, an awakening to self, body, and spirit, in Elytis.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong. I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.”
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
Elytis’s To axion esti (1959, translated as Worthy It Is, 1974), came after a period of more than 10 years of silence. Widely held to be his chef d’oeuvre, it is a poetic cycle of alternating prose and verse patterned after the ancient Byzantine liturgy. As in his other writings, Elytis depicted the Greek reality through an intensely personal tone. Keeley, the translator of the volume into English, suggested that To axion esti “can perhaps be taken best as a kind of spiritual autobiography that attempts to dramatize the national and philosophical extensions of the poet’s personal sensibility. Elytis’s strategy in this work ... is to present an image of the contemporary Greek consciousness through the developing of a persona that is at once the poet himself and the voice of his country.”
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece. When Maria Nefeli was first published in 1978, it met with a curious, yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti, so they [approached] Maria Nefeli with cautious hesitation as an experimental and not-so-attractive creation of rather ephemeral value.”
The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet ... not directly [transcribing] actual events,” he once stated, Maria Nefeli was based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis’s poem had changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis’s youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blase representative of today’s young woman ... This urban Nefeli is the offspring, not the sibling, of the women of Elytis’s youth. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
The poem consists of the juxtaposed statements of Maria Nefeli, who represents the ideals of today’s emerging woman, and Antifonitis, or the Responder, who stands for more traditional views. Through Maria, the Responder is confronted with issues which, though he would like to ignore them, he is forced to come to terms with. Rather than flat, lifeless characters who expound stale and stereotyped maxims, however, “both are sophisticated and complex urbanites who express themselves in a wide range of styles, moods, idioms and stanzaic forms,” maintained Raizis.
Despite the initial reservations voiced by some critics, Maria Nefeli came to be regarded as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Robert Shannan Peckham in the Times Literary Supplement noted that Elytis’s reputation as a major poet was ensured when he received the Nobel Prize for Literature in 1979. Elytis, though, was also a prolific essayist, writing a variety of nonfiction criticism translated and collected in Carte Blanche: Selected Writings in 2000. Peckham argued that the essays need to read “as an extension of the poetry, exuberantly lyrical and self-consciously metaphysical ... The essays cohere through an associative, poetic logic, rather than developing any sustained critical argument.” Peckham concluded that the collection would not “secure Elytis a place among the outstanding essayists of the twentieth century,” but praised the translation by David Connolly.
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces. It is my mission to direct these forces against a world my conscience cannot accept, precisely so as to bring that world through continual metamorphoses more in harmony with my dreams. I am referring here to a contemporary kind of magic whose mechanism leads to the discovery of our true reality. It is for this reason that I believe, to the point of idealism, that I am moving in a direction which has never been attempted until now. In the hope of obtaining a freedom from all constraint and the justice which could be identified with absolute light, I am an idolater who, without wanting to do so, arrives at Christian sainthood.”
Elytis died in Athens, Greece on March 18, 1996.
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FactBench
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2
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https://github.com/lhcb/opendata-project/blob/master/Data/nobel.csv
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en
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opendata-project/Data/nobel.csv at master · lhcb/opendata-project
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https://opengraph.githubassets.com/927fe6f4cc1eff06d65a24cfef944ce8181b5f054567321f33a765747a520606/lhcb/opendata-project
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https://opengraph.githubassets.com/927fe6f4cc1eff06d65a24cfef944ce8181b5f054567321f33a765747a520606/lhcb/opendata-project
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Contribute to lhcb/opendata-project development by creating an account on GitHub.
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GitHub
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https://github.com/lhcb/opendata-project/blob/master/Data/nobel.csv
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Skip to content
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correct_award_00067
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FactBench
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3
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https://www.coppercanyonpress.org/books/open-papers-by-odysseas-elytis-tr-olga-broumas-and-t-begley/
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en
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Open Papers by Odysseas Elytis, Olga Broumas, T Begley, trans. – Copper Canyon Press
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https://www.coppercanyonpress.org/books/open-papers-by-odysseas-elytis-tr-olga-broumas-and-t-begley/
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Reviews
“Open Papers chronicles the life of poetry in modern Greece while identifying the allegiances and passionate particulars of one of the supreme poets of an age. It opens a world that is palpably within this one.” —Sam Hamill, from the introduction
“If, through the decades, Elytis did take political and artistic risks, this clear articulation shows that his art was not guided by luck or risk alone but by a real belief in modernism.” —Publishers Weekly
“Open Papers is… a sweeping exploration of the mind and the mystic imagination of one of the most original, visionary, and compelling poets of this century.” —Translation Review
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FactBench
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http://authorscalendar.info/elitis.htm
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en
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Odysseus Elytis
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Greek poet and winner of the 1979 Nobel Prize for Literature. Elytis's poems are written in rich language, full of images from history and myths. The lines are long and musical. Inspired by the "sanctity of the perceiving senses" Elytis celebrated in his early poems the mystery of the Greek light, the sea, and the air. Later themes are grief, suffering, and search for a paradise.
----"I was given the Hellenic tongue
my house a humble one on the sandy shores of Homer.
----My only care my tongue on the sandy shores of Homer.
The sea-bream and perch
----windbeaten verbs
green currents with the cerulean
----all that I saw blazing in my entrails
sponges, medusae
----with the first words of the Sirens
pink shells with their first dark tremors."
(from Axion Esti, 1959)
Odysseus Elytis (pseudonym of Odysseas Alepoudhelis) was born in Iráklion, Crete, into a prosperous Cretan family. He was the sixth child of Maria and Panayiotis Alepoudellis. His parents and ancestors came from the island of Lesbos, home of the ancient Greek poet Sappho. From there the family business moved to Athens. During his summer vocations, Elytis went to the islands. He often said that the Agean indelibly stamped his mind. Elytis's father died of pneumonia in 1925. Following a nervous breakdown Elytis spent two months in bed.
After attending the Makris Private School, he entered Athens University, where he studied law from 1930 to 1935 without taking a degree. At the time, the most popular poet among the Greek youth was Kostas Karyotakis, who had committed suicide in 1928. "Pale, seized by dreams, they all wrote similar poems that confessed their faith to the one and only god: Karyotakis," said Elytis of his fellow students. Periodically he worked in the family's soap manufacturing business. Inspired by Freudian theory, French Surrealism and especially Paul Éluard, Elytis also tried his hand at poetry. All his poems, which he composed, he destroyed in 1934.
Elytis's first poems appeared in 1935 in magazine Ta Nea Grammata, which also published George Seferis's works - he won the Nobel Prize for literature in 1963. The poet Andreas Empeirikos, who had recently returned from France and was close to the French surrealistic circle, became Elytis's lifelong friend. Along with Empeirokos and the painter Stratis Eleftheriadis-Teriade, he traveled to Lesbos, where he was involved in the discovery and promotion of the art of the folk painter Theophilos Hadjimichael (1897-1934). Orientations (1940), Elytis's first collection, combined themes of Eros and beauty with the timeless nature of the Aegean world: "Love / The archipelago / And the prow of its foam / And the seagull of its dream" (from 'Of the Aegean').
During WW II when Nazis occupied Greece, Elytis joined the resistance movement and served as a second lieutenant in Albania in 1940-41. After a long campaign, he contracted typhus. Asma iroiko ke penthimo ghia ton hameno anthipolochago tis Alvanias (1943, Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign) was published during the Nazi occupation of Greece. Elytis's joyful visions of youth and the sun-drenched Aegean nature had changed into acknowlegmenet of violence and sudden death. The hero of the poem is killed on the battlefield and miraculously resurrected throught his youth and heroism.
"As a young man he had seen gold glittering and gleaming on the shoulders of the great -And one night -he remembers -during a great storm the neck of the sea roared so it turned murky -but he would not submit it
The world's an oppressive place to live through -yet with a little pride it's worth it."
(from Death and Resurrection of Constandinos Paleologhos')
Like many other leftist intellectuals, Elytis was denied a passport during the civil war between communists and royalistst. He wrote critics for the newspaper Kathimerini and worked for the National Broadcasting Institute in Athens in 1945-46 and again 1953-54. When he was given permission to travel outside the country in 1948, he moved to Paris, where he studied literature at the Sorbonne. During this time he became acquainted with Pablo Picasso, Henri Matisse, and other figures of the Parisian art scene.
In 1953, Elytis returned to Greece and took an active role in cultural affairs. He was a member of the Greek critical and prize-awarding Group of the Twelve, and served as president and governing-board member of Karolos Koun's Art Theater and of the Greek Ballet. His silence as a poet ended in 1959 with To Axion Esti, reminiscent of Walt Whitman's Song of Myself, which celebrated the diversity of American landscapes and people. It is believed, that Elytis was proficient enough in English to read Whitman while in France.
The work took him 14 years to write; it was later set music by Mikis Theodorakis. Inspired by the Byzantine liturgy, Elytis combines the biblical story of the creation with modern Greek history. In this work the poet identifies himself in the first section, 'Genesis', with the sun and the entire Aegena world and his race. In the second, 'The Passion,' he passes through the barbaric war decade, comparing humankind's suffering with the suffering of Christ. Eventually, like Dante in Paradise, he sees the sun, love, and beauty. "If there is, I think, for each one of us a different, a personal Paradise," Elytis once said, "mine should irreparably be inhabited by trees of words that the wind dresses in silver, like poplars, by men who see the rights of which they have been deprived returning to them, and by birds that even in the midst of the truth of death insist on singing in Greek and on saying, eros, eros, eros!""
Between 1965 and 1968, Elytis served on the administrative board of the Greek National Theater, and then spent the next two years in Paris after the Greek military coup of 1967. The dictatorial government offered him the Grand Prize for Literature, but he refused the honour. The two collections of poetry, The Light Tree and the Fourteenth Beauty and The Monogram, which he composed during the Junta rule, appeared in Cyprus. In 1978 he published a long poetic work, Maria Nefeli, which was finished when he returned to Greece. Its alternating monologues are spoken by a girl, Maria Nephele and the Antiphonist, the poet himself.
Much of his life, Elytis spent in semiseclusion, focusing only on his art. For many years he lived in the same apartment in Athens, frequented the Café Dexameni (a statue of Elytis stands in Dexameni Square), and wrote on the desk he had had since childhood.
After the Nobel Prize followed a period of busy traveling. His final collection was Dytika tis Lypis (1995). Elytis never married; during his last years his companion was the poet Ioulita Iliopoulou. Elytis died of a heart attack on March 18, 1996, at his home in Kolonaki. The bulk of his books Elytis donated to libraries. His collected poems, translated into English by Jeffrey Carson and Nikos Sarris, came out posthumously in 1997. Elytis was also a talented painter and produced illustrations of his lyrical world in gouaches and collages.
For further reading: Da Omero a Elytis: la metafora del mito dall'epos antico alle letterature moderne, a cura di Matteo Miano, Sophie Zambalou, Anna Zimbone (2019); Mediterranean Modernisms: The Poetic Metaphysics of Odysseus Elytis by Marinos Pourgouris (2011); Seferis and Elytis as Translators by Irene Loulakaki-Moore (2010); God and the Poetic Ego: the Appropriation of Biblical and Liturgical Language in the Poetry of Palamas, Sikelianos, and Elytis by Anthony Hirst (2004) Odysseus Elytis: From the Golden to the Silver Poem by Adonis Decavalles (1994); Eliot and Elytis: Poet of Time, Poet of Space by Karl Malkoff (1984); Odysseus Elytis: Analogies of Light by I. Ivask (1981); '"Elytis," Odysseus,' in World Authors 1950-1970, edited by John Wakeman (1975); Books Abroad, special Elytis issue (Autumn 1975); Modern Greek Poetry by E. Keeley (1973) - "Odysseus Elytis is first of all a poet whose unique strength is the celebration of a landscape that is his protean theme, his finest invention. This terrain is both his beloved Greece and the human body, a vision r ooted in the past and passionately imagined in a kind of floating, timeless present." (Rachel Hadas in The New York Times, February 7, 1982)
Selected works:
Prosanatolismoi, 1940
- Orientations (selections in The Sovereign Sun: Selected Poems, translated by Simon Friar, 1974; Selected Poems, translated by Edmund Keeley and Philip Sherrard, 1981)
Îlios o Prôtos, 1943 (Sun the First, together with Variations of a Sunbeam)
Asma Îrôiko kai Penthimo gia ton chameno Anthypolochago tîs Alvanias, 1943 (Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign)
To Axion Esti, 1959
- The Axion Esti (translated by Edmund Keeley and George Savadis, 1974)
- Ylistetty olkoon (suom. Markku Pääskynen, 2010)
- oratorio: composed by Mikis Theodorakis, 1960
Exî kai mia Typseis gia ton Oyrano, 1960
- Six and One Remorses for the Sky and Other Poems (selections in Selected Poems, translated by Edmund Keeley and Philip Sherrard, 1981; translated by Jeffrey Carson, 1981)
O Îlios o Îliatora, 1971
- The Sovereign Sun: Selected Poems (translated by Simon Friar, 1974)
To monogramma, 1971
- The Monogram (in What I Love, translated by Olga Boumas, 1986)
To Fotodendro ke i Dekati Tetarti Omorfia, 1971 (The Light Tree and the Fourteenth Beauty)
Ta Rô tou Erôta, 1972
The Sovereign Sun: Selected Poems, 1974 (translated by Kimon Friar)
Ta Eterothalî, 1974
Anichta Hartia, 1974 [Open Book]
The Stepchildren, 1974
Î Mageia tou Papadiamantî, 1974
Deuteri Grafî, 1976 (translator)
Sîmatologeion, 1977
Maria Nefelî, 1978
- Maria Nephele: A Poem in Two Voices (translated by Athan Anagnostopoulos, 1981)
Selected Poems, 1981 (translated by Edmund Keeley et al.)
Odysseus Elytis: Analogies of Light, 1981 (edited by Ivar Ivask and Philip Sherrard)
Tria Poiîmata me sîmaia Eykairias, 1982
Sapfô, 1984 (translator)
Îmerologio enos Atheatou Apriliou, 1984
- Diary of an Unseen April (translated by David Connolly, 1999)
Î Apokalypsî tou Iôanni, 1985 (translator)
Six and One Remorses for the Sky: And Other Poems, 1985 (translated by Jeffrey Carson)
What I Love: Selected Poems, 1986 (translated by Olga Boumas)
O Mikros Nautilos, 1986
- The Little Mariner (translated by Olga Broumas, 1988)
Krinagoras, 1987 (translator)
Ta Elegeia tîs Oxôpetras, 1991
- The Oxopetra Elegies, 1996 (translated by David Connolly, 1996) / The Elegies of Oxopetra West of Sorrow (English & Greek; translated by David Connoll, 2012)
En Lefkó, 1992
- Carte Blance: Selected Writings (translated by David Connolly, 1999)
Open Papers: Selected Essays, 1994 (translated by Olga Broumas & T. Begley)
O Kípos me tis Aftapátes, 1995 [The Garden of Self-Delusions]
Dytika tis Lypis, 1995
S X 7 E, 1996
The Collected Poems of Odysseus Elytis, 1997 (translated by Jeffrey Carson and Nikos Sarris)
Ek tou Plîsion, 1998 (edited by Ioulita Iliopoulou)
Eros, Eros, Eros: Selected and Last Poems, 1998 (translated by Olga Broumas)
Carte Blanche: Selected Writings, 1999 (translated by David Connolly)
Autoprosōpographia: se logo prophoriko, 2000
Sēmatologion, 2001
Poiîsî, 2002
Selected Poems 1940-1979, 2005 (translated by Edmund Keeley, Philip Sherrard, George Savidis, John Stathatos, Nanos Valaoritis)
In the Name of Luminosity and Transparency, 2016 (translated from the modern Greek by Simon Darragh; introduction by Dimitris Daskalopoulos)
Some rights reserved Petri Liukkonen (author) & Ari Pesonen. 2008-2023.
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Nobel Laureate Odysseus Elytis’ works to find a permanent home in Plaka
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2020-12-21T19:39:41+00:00
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Described as the ‘sun-drinking poet,’ the late Nobel laureate Odysseas Elytis will be honoured with a permanent home dedicated to preserving his poems, photographs and texts on the corner of Dioskourou and Polygnotou streets in Plaka. Considered one of the most acclaimed poets of the 20th century, Elytis was born on Crete in 1911 and passed […]
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Athens Insider
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https://www.athensinsider.com/nobel-laureate-odysseus-elytis-works-to-find-a-permanent-home-in-plaka/
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The listed building that will house Odysseas Elytis’ works, consists of a main residence and two auxiliary buildings. The building, owned by the Culture Ministry, will include the creation of an exhibition area but also a space for the storage of Elytis’ archives. The residence’s ground floor will house a reception area and a visual presentation of significant milestones in Elytis’ life and work. Also on display will be books, manuscripts, the poet’s favourite poems and works of art, translations, audio and visual material and personal items from his office.
Odysseus Elytis was born Odysseus Alepoudelis, in the city of Heraklion, on the island of Crete, on November 2, 1911. To avoid any association with his wealthy family of soap manufacturers, he later changed his surname to reflect those things he most treasured. Frank J. Prial of the New York Times explained that the poet’s pseudonymous name was actually “a composite made up of elements of Ellas, the Greek word for Greece; elpidha, the word for hope; eleftheria, the word for freedom, and Eleni, the name of a figure that, in Greek mythology, personifies beauty and sensuality.”
Elytis was relatively unknown outside his native Greece when he was awarded the Nobel Prize for literature in 1979. The academy declared in its presentation that his poetry “depicts with sensual strength and intellectual clear-sightedness, modern man’s struggle for freedom and creativeness … [In] its combination of fresh, sensuous flexibility and strictly disciplined implacability in the face of all compulsion, Elytis’ poetry gives shape to its distinctiveness, which is not only very personal but also represents the traditions of the Greek people.”
Elytis’s poetry collections include What I Love: Selected Poems of Odysseus Elytis, translated by Olga Broumas (1978), Maria Nefeli: Skiniko piima (1978, translated as Maria the Cloud: Dramatic Poem, 1981), and To axion esti (1959, translated as Worthy It Is, 1974).
To be a Greek and a part of its 25-century-old literary tradition was to Elytis a matter of great pride. His words, upon acceptance of the Nobel Prize, gave evidence of this deep regard for his people and country: “I would like to believe that with this year’s decision, the Swedish Academy wants to honor in me Greek poetry in its entirety. I would like to think it also wants to draw the attention of the world to a tradition that has gone on since the time of Homer, in the embrace of Western civilization.”
Elytis first became interested in poetry around the age of 17. At the same time he discovered surrealism, a school of thought just emerging in France. He soon became absorbed in the literature and teachings of the surrealists and worked to incorporate aspects of this new school into the centuries-old Greek literary tradition.
Prosanatolizmi (Orientations), published in 1936, was Elytis’s first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis’s work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
The poet, however, disagreed with such descriptions of his work. He suggested that “my theory of analogies may account in part for my having been frequently called a poet of joy and optimism. This is fundamentally wrong.
I believe that poetry on a certain level of accomplishment is neither optimistic nor pessimistic. It represents rather a third state of the spirit where opposites cease to exist. There are no more opposites beyond a certain level of elevation. Such poetry is like nature itself, which is neither good nor bad, beautiful nor ugly; it simply is. Such poetry is no longer subject to habitual everyday distinctions.
With the advent of the World War II, Elytis interrupted his literary activities to fight with the First Army Corps in Albania against the fascists of Benito Mussolini. His impressions of this brutal period of his life were later recorded in the long poem “A Heroic and Elegiac Song of the Lost Second Lieutenant of the Albanian Campaign.” Regarded as one of the most touchingly human and poignant works inspired by the war, the poem has since become one of the writer’s best-loved works.
After the overwhelming success of To axion esti, which won the National Book Award for Poetry in 1960, questions were raised regarding what new direction Elytis would pursue and whether it would be possible to surpass his masterpiece.
His poem Maria Nefeli came to be regarded by critics as the summa of Elytis’s later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
In an interview with Ivar Ivask for Books Abroad, Elytis summarized his life’s work: “I consider poetry a source of innocence full of revolutionary forces.”
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Odysseas Elytis – Waterblogged
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2020-12-18T12:35:18+00:00
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Posts about Odysseas Elytis written by arwen1968
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Quote of the Day / La cita del día
I was given the Greek language;
a poor house on Homer’s beaches.
My only care my language on Homer’s beaches.
Seabream there and perch
windbeaten verbs
green sea-currents amid the azure currents
which I felt light up in my viscera
sponges, medusae
with the first words of the Sirens
pink shells with their first black shivers.
My only care my language with the first black shivers.
(Odysseas Elytis: Psalm II)
La lengua me la dieron griega;
la casa pobre en las arenas de Homero.
Unica cuita me lengua en las arenas de Homero.
Allí sargos y percas
verbos sacudidos por el viento
corrientes verdes entre las azules
cuanto vi que se iba encendiendo en mis entrañas
esponjas, medusas
con las primeras palabras de las Sirenas
conchas rosadas con los primeros estremecimientos negros
Unica cuita me lengua con los primeros estremecimientos negros.
(Odysseas Elytis: Salmo II)
Locked Down in London, Day 66: Politicians
For the past few days, the row about whether a certain politician who broke the lockdown rules by travelling to visit family at some 200 miles’ distance (for childcare reasons) should resign.
In the circumstances I don’t believe that his reason for travelling was acceptable; but that’s just my personal opinion. What I do know for a fact on the other hand is that my family made sacrifices in the interest of public health instead of doing what was the best for us (as I believe did many others!) – while this mother****** did the exact opposite. Ergo, he should resign.
(Of course he won’t.)
Continue reading “Lockdown Diaries: Day 66 (I Brought My Life This Far)” →
Locked Down in London: Open Letter to Boris
Dear Boris,
Today I had a long, hard day at work in an overheated office (our patio) and in my well considered opinion this lockdown sucks, sucks and sucks some more.
I know you’re very busy so I’ll be brief: I want water. Not from the tap! I want to go to the beach; if not that, then to the river; if not that, to the lido; if not that, at least to the pool where I’m a member.
Continue reading “Lockdown Diaries: Day 61 (Give Me My Aegean)” →
Locked Down in London, Day 40: Holiday flight
An e-mail from my airline regarding my upcoming holiday flight – the one we postponed from April – left me in the quandary: do I transfer the flight to July (my only remaining free holiday time), do I accept the voucher that I can’t use and try to swindle my way round the fact that it’s not transferable, or do I sit tight and hope that the airline will cancel the flight and I can get my money back?!
On the subject of holiday flights: I saw the following video a while ago, and probably you all saw it by now… but just in case somebody missed out, something to cheer you up!
Continue reading “Lockdown Diaries: Day 40 (Of the Aegean)” →
Locked Down in London, Day 13: The Year of the Genius Generation
Since the government cancelled all exams this summer (A-levels and GCSEs both), the young and a bright are set to get predicted grades instead.
Wow! This will be the only year ever in which no student fails his exam; the only year when all departments in all schools meet their targets; the year when academic achievement across the country soars to unimagined heights… the year of the Genius Generation!
There’s only one small problem: How will the universities and sixth form centres accommodate all this talent?
Continue reading “Lockdown Diaries: Day 13 (On Homer’s Beaches)” →
This summer it’ll be five years ago that I visited Santorini for what then I thought was the first but now suspect was also the only time. I didn’t know the poetry of Odysseas Elytis then even though he had won the Nobel Prize in Literature in 1979 and I did – twice! – graduated in literature. Admittedly, neither of those degrees was in Greek literature but you don’t study literature, in any language, in a vacuum, and my ignorance of a Nobel Prize winning poet seems preposterous in retrospect.
Continue reading “Ode to Santorini” →
Of the Aegean
The poem below – published in 1939 – marks the beginning of a long poetic career. Given that this was the beginning, does it come as a surprise that the poet won the Nobel-Prize in literature?
Continue reading “Sailing the Aegean with Odysseas Elytis” →
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https://en.wikipedia.org/wiki/Odysseas_Elytis
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Odysseas Elytis
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Greek poet and art critic
Odysseas Elytis (Greek: Οδυσσέας Ελύτης [oðiˈseas eˈlitis], pen name of Odysseas Alepoudellis, Greek: Οδυσσέας Αλεπουδέλλης; 2 November 1911 – 18 March 1996) was a Greek poet, man of letters, essayist and translator, regarded as the definitive exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century,[3] with his Axion Esti "regarded as a monument of contemporary poetry".[4] In 1979, he was awarded the Nobel Prize in Literature.[5]
Descendants of the Alepoudelis, whose name going back was Alepos and even further back connected to the revolutionary Lemonis in Lesbos, Panayiotis Alepoudelis and his younger brother Thrasyboulos were both born in the village Kalamiaris of Panagiouthas of Lesbos. Their family had become well-established the industries of soap manufacturing and olive oil production in Heraklion, Crete in 1895. In 1897 Panagyiotis married Maria E. Vrana (1880-1960) from the village Papados of Geras, Lesbos. From this union and as the last of six siblings, Odysseas was born in the early hours of 2 November 1911. He is pictured on the far left wearing a sailor's uniform in the photo of his family. The Alepoudelis later moved to Athens, where his father re-situated the soap factory in Piraeus. In 1918 his older sister and first born Myrsene (1898-1918) died in the Spanish influenza. While on summer holidays from their Athens home as guests on the island of Spetses in the Haramis home in the St Nicolaos neighbourhood his own father also died in the summer of 1925 from pneumonia. His father Panayiotis may have been the inspiration for Elytis to write. Apparently his father wrote poetry and it remained unpublished. In 1927 wrought with overtiredness Odysseas was diagnosed with tuberculosis. While in bed recuperating he voraciously read all the Greek poetry he could and in this year discovered Cavafy. In 1928 he graduated from high school and successfully passed the difficult entrance exams to law school at University of Athens. He read in the newspapers of the suicide of the poet Karyiotakis. In 1929 Elytis took a sabbatical between high school and university and decided secretly that he must only become a poet. In 1930 he and his family moved to Moshoniseon 148. Elytis had initial aspirations to become a lawyer but did not sit for his final examinations and did not get his legal qualification. He also had expressed aspirations to become a painter in the manner of the surrealists but his family quickly thwarted this idea. Around this timeframe Elytis noticed and noted that the month surrounding the Ides Of March was not good for him and was cautious while tracking it for the rest of his life.[6]
In 1935 Elytis published his first poem in the journal New Letters (Νέα Γράμματα) at the prompting of such friends as George Seferis. In the same year he also became a lifelong friend of writer and psychoanalyst Andreas Embiricos, who allowed him to have access to his vast library of books. In 1977, two years after the death of his friend, Elytis wrote a tribute book to Embiricos from within the commonalities that founded their ideas aptly titled "Reference to Andreas Embiricos" and originally published by Tram publishers Thessaloniki. His entry to the magazine "New Letters" in 1935 was in November which was the 11th issue and with his pseudonym Elytis established therein. With a distinctively earthy and original form in his expression, Elytis assisted inaugurating a new era in Greek poetry and its subsequent reform after the Second World War.[6] In 1960 his older brother Constantine (1905-1960) died, followed by his mother, Maria Vrana Alepoudelis. Elytis was simultaneously awarded the First National Prize for poetry for his work "Axion Esti".
In 1967 Elytis travelled to Egypt, visiting Alexandria, Cairo, Luxor and Aswan. Returning to Greece in March, he finished his piecing together of the fragments of Sappho's verses translated into modern Greek and brought them together with his own diaphanous iconography. These were published finally in 1984 without the drawings which are deposited separately in the archives of the American School of Classical Studies along with the original manuscripts of the initial translations of Sappho. With the April 21st military dictatorship in force, Elytis disappeared from public view.At the time of the dictatorship he lived at Skoufa 26 and upon his return from Paris in 1972 he moved to Skoufa 23 to a fifth floor apartment, his final residence in Athens before he died.
From 1969 to 1972, under the Greek military junta of 1967–1974, Elytis exiled himself to Paris after he refused money from the junta and established a modest residence there.[6] In Paris he lived with the English philologist, lyricist and musicologist Marianina Kriezi (1947-2022), who subsequently produced and hosted the legendary children's radio broadcast "Here Lilliput Land". Kriezi was extraordinary, having published a book of poems at the age of fourteen. The title of The book was "Rhythms and Beats" and she sent a first edition copy to George Seferis along with a hand written letter asking him to write a page of his poetry in long hand in fountain pen and gift it to her. Apparently she was going to put across from her bed and see it every morning when she awoke for the rest of her life treasuring the words of poetry. The irony is that she met up with Elytis who was in contrast to the cerebral Seferis, unmarried and a poet of the senses. There is speculation that Kriezi and Elytis were secretly married in Paris but with their return to Greece their French marriage was invalidated and they separated, never divorcing. When Elytis died, however, he was buried wearing the silver wedding band that had the name "Marianina" engraved inside it. The silver ring is on the cover of "Analogies of Light" within a picture that shows only the author's hands writing inside a book. Ivar Ivask also noted the presence of the photo of Kriezi [a muse inside a silver frame across from the photo of his mother] in the home of Elytis when editing the aforementioned book. On the day he died three photographs of women that he had loved and influenced him were in his small apartment. In his bedroom the black and white photo of his mother was by his left bedside table and the photo of Kriezi taken in Paris in the late sixties was across from his bed on the left entering from the living room. In the living room on top of the fancy dresser drawers was a colour photo of Anita Mozas (born in Toronto in 1957) who had first met the poet in 1973 and then interviewed him for the CBC radio in early 1980. Elytis made her his authorized biographer in 1987 and stated she understood him as Dora Maar had understood Picasso. Francoise Gilot supported the decision of Elytis to make Anita Mozas his biographer after having met her and become friends with her.
In 1937 he served his military requirements. As an army cadet, he joined the National Military School in Corfu. He assisted Frederica of Hanover off the train and on to Greek soil personally when she arrived from Germany to marry hereditary Prince Paul. During the war he was appointed Second Lieutenant, placed initially at the 1st Army Corps Headquarters, then transferred to the 24th Regiment, on the first-line of the battlefields. In 1941, he contracts an acute case of typhus abdominalis and is transferred to the Ioanina Hospital into the pathology unit for officers. Elytis came very close to his death here and was given the options between staying at the hospital and be a prisoner when the Germans fully invaded and occupied Greece, or be transferred with the risk of intestinal perforation and hemorrhage. On the eve of the invasion of the German armies, he decided to be transferred to Aigrinio and from there eventually back to Athens where he made a slow but steady recovery during the German occupation. He began to outline poetry for his eventual work "Sun The First"; in Alexandria Seferis delivered a lecture on Elytis and Antoniou. Elytis was sporadically publishing poetry and essays after his initial foray into the literary world.[6]
He was a member of the Association of Greek Art Critics, AICA-Hellas, International Association of Art Critics.[7]
He was twice Programme Director of the Greek National Radio Foundation (1945–46 and 1953–54), Member of the Greek National Theatre's Administrative Council, President of the Administrative Council of the Greek Radio and Television as well as Member of the Consultative Committee of the Greek National Tourists' Organisation on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
In 1948–1952 and 1969–1972 he lived in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde (Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Francoise Gilot, Chagall, Giacometti) as Tériade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowned artists and philosophers (Kostas Axelos, Jean-Paul Sartre, Francoise Gilot, René Daumal) of the time. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations". Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.[6]
In 1961, upon an invitation of the State Department, he traveled through the USA from March to June to New York Washington New Orleans Santa Fe Los Angeles San Francisco Boston Buffalo Chicago His return was to Paris to meet up with Teriade and then to Greece — Upon similar invitations in 1962 with Andreas Embiricos and Yiorgos Theotokas (1905-1966) through the Soviet Union to Odessa Moscow and Leningrad. Elytis did not like Yevgeny Yevtushenko when they were introduced but appreciated Voznesensky That summer he spent part of his holidays on Corfu Island and the rest on Lesbos where he and Teriade, who had returned from Paris, were establishing the foundations of a museum dedicated to the painter Theophilos. In 1964 the inaugural performance of the oratorio to the poetry of the Axion Esti as set to music by MIkis Theodorakis was held. In 1965 he completes the essays that will be comprised as the book "The Open Papers" and in that summer visits the Greek islands yet again. He visited Bulgaria in 1965[6] with his friend Yiorgos Theotokas on the invitation of the Union of Bulgarian Authors; it would be their final journey together as Theotokas would die in October 1966. Their guide throughout this country was the poet Elisaveta Bagryana (1893-1991, who had been nominated three times until then for the Nobel prize in Literature. In 1965 he was also bestowed with the Phoenix Cross, the highest honour of the Greek nation.
Elytis was a believer and follower of numerology in all its forms: Biblical, Kabbalah, Chaldean and Pythagorean. He also believed in vedic astrology and held certain beliefs of Hinduism to be true. Pablo Picasso had given him three instructions about the course of life which he attempted to uphold sacrosanct. Elytis was beset with the untimely death of friends and relatives throughout his life: Yiorgos Theotokas, George Seferis, Andreas Embiricos, George Sarandaris. Of all the deaths that happened, Karydis, his publisher at Ikaros, shook him up the most. Elytis had cordial relations with Yiannis Ritsos and close ties with his best friend Nikos Gatsos, both poets of the same generation.
Odysseas Elytis had been completing plans to travel overseas to see friends when he died of a heart failure in Athens on 18 March 1996, at the age of 84. He had made it known that he was a believer in cremation and had wished that somehow he could have been cremated which the tenets of his Greek Orthodox religion do not support or allow. He was also a supporter of the legalization of euthanasia for people who wished to die after pain and suffering. And he believed it was a woman's right to choose abortion in any circumstance. In the last ten years of his life he lived with a companion, Ioulita Iliopoulou [nee Sofia Iliopoulou, daughter of Dimitrios and Demetra July 1, 1965] who was 53 years his junior. Iliopoulou is an activist for children throughout the world imparting her knowledge whenever she is able to. She is a successful artist in her own right, translating and composing her own works and giving poetry recitals at the Theocharakis Foundation in Athens.
Elytis died in his Athens apartment on March 18, 1996, of heart failure. The funeral was held the next day. The funeral was jammed with people who had loved his poetry. He was buried in a family grave beside his family, including his mother and brother.
Iliopoulou, as his life partner, inherited the immovable property in real estate of Elytis which consisted of four apartments and the trustee power of copyrights to his work. She has been promoting Elytis with excellence in his legacy. Elytis was survived in his bloodline by his niece Myrsene (from his oldest brother Theodoros born 1900) and his next in line older brother Evangelos. This brother (born 1909-2002) also received a writ of condolence from the mayor of Athens on behalf of the nation at the funeral at the First Cemetery of Athens.
Elytis' poetry has marked, through an active presence of over forty years, a broad spectrum of subject matter and stylistic touch with an emphasis on the expression of that which is rarefied and passionate. He borrowed certain elements from Ancient Greece and Byzantium but devoted himself exclusively to today's Hellenism, of which he attempted—in a certain way based on psychical and sentimental aspects—to reconstruct a modernist mythology for the institutions. His main endeavour was to rid people's conscience from unjustifiable remorses and to complement natural elements through ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a "worshiper" -idolater by his own definition. A parallel manner concerning technique resulted in introducing the inner architecture, which is evident in a great many poems of his; mainly in the phenomenal landmark work It Is Truly Meet (Το Άξιον Εστί). This work due to its setting to music by Mikis Theodorakis as an oratorio, is a revered anthem whose verse is sung by all Greeks for all injustice, resistance and for its sheer beauty and musicality of form. Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title The Open Papers (Ανοιχτά Χαρτιά). Besides creating poetry he applied himself to translating poetry and theatre as well as a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Orientations (Προσανατολισμοί, 1939)
Sun The First Together With Variations on A Sunbeam (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1962)
To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
The Trills of Love (Τα Ρω του Έρωτα, 1973)
Villa Natacha {published in Thessaloniki by Tram and dedicated to E Terade 1973]
The Monogram (Το Μονόγραμμα, 1972)
Step-Poems (Τα Ετεροθαλή, 1974)
Signalbook (Σηματολόγιον, 1977)
Maria Nefeli (Μαρία Νεφέλη, 1978)
Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
Krinagoras (Κριναγόρας, 1987)
The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
The Elegies of Oxopetra (Τα Ελεγεία της Οξώπετρας, 1991)
West of Sadness (Δυτικά της λύπης, 1995)
The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
2x7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
(Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
Reference to Andreas Embeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
Things Public and Private (Τα Δημόσια και τα Ιδιωτικά, 1990)
Private Way (Ιδιωτική Οδός, 1990)
Carte Blanche («Εν λευκώ» (συλλογή κειμένων), 1992)
The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Open Papers: Selected Essays (Copper Canyon Press, 1995) (translated by Olga Broumas and T. Begley)
The Room with the Pictures (Το δωμάτιο με τις εικόνες, 1986) – collages by Odysseas Elytis, text by Evgenios Aranitsis
Second Writing (Δεύτερη γραφή, 1976)
Sappho (Σαπφώ)
The Apocalypse (by John) (Η αποκάλυψη, 1985)
Poesie. Procedute dal Canto eroico e funebre per il sottotenente caduto in Albania. Trad. Mario Vitti (Roma. Il Presente. 1952)
21 Poesie. Trad. Vicenzo Rotolo (Palermo. Istituto Siciliano di Studi Bizantini e Neoellenici. 1968)
Poèmes. Trad. Robert Levesque (1945)
Six plus un remords pourle ciel. Trad. F. B. Mache (Fata Morgana. Montpellier 1977)
Körper des Sommers. Übers. Barbara Schlörb (St. Gallen 1960)
Sieben nächtliche Siebenzeiler. Übers. Günter Dietz (Darmstadt 1966)
To Axion Esti – Gepriesen sei. Übers. Günter Dietz (Hamburg 1969)
The Axion Esti. Tr. E. Keeley and G. Savidis (Pittsburgh 1974 – Greek & English)(repr. London: Anvil Press, 1980 – English only)
Lofwaardig is. Vert. Guido Demoen (Ghent 1989–1991)
The Sovereign Sun: selected poems. Tr. K. Friar (1974; repr. 1990)
Selected poems. Ed. E. Keeley and Ph. Sherrard (1981; repr. 1982, 1991)
Maria Nephele, tr. A. Anagnostopoulos (1981)
Çılgın Nar Ağacı, tr. C. Çapan (Istanbul: Adam Yayınları, 1983)
What I love: selected poems, tr. O. Broumas (1986) [Greek & English texts]
To Àxion Estí, tr. Rubén J. Montañés (Valencia: Alfons el Magnànim, 1992) [Catalan & Greek edition with notes]
Eros,Eros,Eros, Selected & Last Poems, tr. Olga Broumas (Copper Canyon Press, 1998)
The Collected Poems of Odysseus Elytis, tr. Jeffrey Carson & Nikos Sarris (The Johns Hopkins University Press, 1997, 2004)
The Oxopetra Elegies and West of Sorrow, tr. David Connolly (Harvard University Press - 2014) (Greek & English texts)
From Nobel Lectures, Literature 1968–1980, Editor-in-Charge: Tore Frängsmyr, Editor: Sture Allén, World Scientific Publishing Co., Singapore, 1993.
Mario Vitti: Odysseus Elytis. Literature 1935–1971 (Icaros 1977)
Tasos Lignadis: Elytis' Axion Esti (1972)
Lili Zografos: Elytis – The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
Odysseas Elytis: Analogies of Light. Ed. I. Ivask (1981)
A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis' Variations on a theme (1982)
E. Keeley: Elytis and the Greek Tradition (1983)
Ph. Sherrard: 'Odysseus Elytis and the Discovery of Greece', in Journal of Modern Greek Studies, 1(2), 1983
K. Malkoff: 'Eliot and Elytis: Poet of Time, Poet of Space', in Comparative Literature, 36(3), 1984
A. Decavalles: 'Odysseus Elytis in the 1980s', in World Literature Today, 62(l), 1988
I. Loulakaki-Moore: Seferis and Elytis as Translators. (Oxford: Peter Lang, 2010)
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https://www.firstthings.com/blogs/firstthoughts/2016/11/dylans-nobel-in-perspective
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Dylan’s Nobel in Perspective | Stephen Schwartz
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2016-11-01T10:20:00-04:00
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The Swedish Academy has a strange idea of what “the great American song tradition” is.
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https://d2201k5v4hmrsv.cloudfront.net/img/favicon.ico
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First Things
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https://www.firstthings.com/blogs/firstthoughts/2016/11/dylans-nobel-in-perspective
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The awarding of the 2016 Nobel Prize in Literature to Bob Dylan has provoked enthusiasm and dismay since its announcement on October 13. Dylan himself has indicated distaste for the distinction by ignoring it. His silence called forth a rebuke from the Stockholm apparatus, wherein Per Wastberg, a writer, called Dylan “arrogant and impolite.” But Sara Danius, secretary of the Swedish Academy, quickly explained: “A member of the academy, Per Wastberg, has publicly expressed his disappointment at Bob Dylan’s omitted response. This is Mr. Wastberg’s private opinion and is not to be taken as the official standpoint of the Swedish Academy.”
It may be that the honoree himself grasps the absurdity of the affair. Dylan is not without a cynical side. Nor is this the first misstep by the Swedish Academy in its recent Nobel selections for literature. Since 1976, when the prize was awarded to Saul Bellow, the Swedes have swung wildly between inspired and baffling choices. Isaac Bashevis Singer (1978), the Greek poet Odysseus Elytis (1979), and Czeslaw Milosz (1980) all were worthy of recognition. Milosz, like other literary Nobelists, may have been selected for a political reason—to express support for the rising Solidarity labor movement and other oppositionists in Poland. The selection of Elias Canetti (1981) was a fascinating example of good the Swedes can do with the prize: It brought global attention to a Sephardic Jewish writer from Bulgaria who wrote in German.
At the end of the 1990s, however, the Swedish Academy suffered an outburst of silliness that may have set a precedent for the awarding of Dylan. In 1997, Dario Fo, a radical leftist Italian theatrical clown, received the prize; in 1998, the prize went to José Saramago, a Portuguese author of mediocre fictional works, a verbose enemy of the Catholic Church, and an unapologetic adherent of his country’s Soviet-model Communist Party. In 1999, Günter Grass, an indefatigable enemy of America, was so rewarded by the Swedes. Grass had gained attention during the Nicaraguan civil war by arguing everywhere he could that the Sandinista commissars were victims of a demonic American imperialism equal to Russian Communist oppression in Poland.
Worse was to come: In 2004, Elfriede Jelinek, an Austrian known for a quasi-pornographic obsession with sadism and abuse, was elevated to the Nobel heights. Next came playwright Harold Pinter, another inveterate America-hater, in 2005. True, the 2010 accolade went to the Peruvian-born Mario Vargas Llosa, who well deserved it, and from 2011 until now, the Swedish Academy has muddled along, notably bestowing the Prize on Canadian short-fiction writer Alice Munro in 2013 and a Belarusian chronicler of Stalin’s repression, Svetlana Alexievich, in 2015. Then it hit on the novelty it perceived in Bob Dylan.
The Swedish Academy declared tersely that they acknowledged him “for having created new poetic expressions within the great American song tradition.” What “great American song tradition” did the Swedes consider in their deliberations? Perhaps, given their anti-Americanism, they conflated the protest genre of the 1960s with folk music. In this, they would not be alone. Carolyn Hester, a “singer-songwriter,” gushed in the Los Angeles Times: “I was astonished at the news, overjoyed. A sense of validation swept over me. It seems we built a long-lasting platform of sorts, a fortress of folk music, that can still carry the strength of our convictions.” Dylan Owens, a writer for the Denver Post—and one of perhaps thousands of Americans named after the star—praised Dylan for his “damning critique of the American dream” and his “dense tapestry of folk references.” He affirmed, “the win would seal Dylan’s status as not only a living legend of music, but [of] words as well.”
But the celebration of Dylan as a “folk poet” raises a problem of cultural history. American “folk singing” began in the 1930s, but Dylan’s version of it is not a “folk product.” Recent and contemporary “folk music” has almost nothing in common with the creations of American “folk” cultures and subcultures. Country-western music and some elements of ordinary rock music draw more deeply on genuine folk sources. The folk music associated with Communist cabaret singers like Pete Seeger was a political invention intended to merge the Communist agenda with a sense of belonging to America. The habit of imitating “folk” culture has carried on for decades. Dylan slipped into this role when he began performing in New York City. Authentic “folk” music emerged from local communities and their heritage and was seldom intended for a wider audience.
Dylan discovered a niche in pretending to be a son of the soil, another “Dust Bowl refugee” like Woody Guthrie. Early examples include “Blowin’ in the Wind” and “The Times They Are A-Changin’,” from 1963-64. Dylan has assembled a system of pastiche appropriations, mostly from leftist café guitar players and blues performers, and added his own occasional impersonations of past songwriters such as Guthrie and the blues performer Leadbelly.
Dylan’s legacy is found in many pop trends, from the compositions of Bruce Springsteen to rappers. The latter would probably deny it, but they owe a great deal to Dylan’s practice of rendering rhymed gibberish as if it were insightful and beautiful lyric. In his 1965 “Subterranean Homesick Blues,” the epitome of his turn from “faux-folk” to an approximation of then-popular rock music, he wrote:
Get sick, get well
Hang around a ink well
Ring bell, hard to tell
If anything is goin’ to sell
Try hard, get barred
Get back, write braille
Get jailed, jump bail
Join the army, if you fail . . .
In his 1965 “Highway 61 Revisited,” he described
Well Mack the Finger said to Louie the King
I’ve got forty red, white and blue shoestrings
And a thousand telephones that don't ring
You know I can’t get rid of these things . . .
The habit of improvising meaningless verbiage to fill space in his songs was one that Dylan never broke. Parsing such “word salad” would be difficult, if not impossible. Did he intend anything comprehensible?
It is interesting to ask how Bob Dylan might be contrasted with Dylan Thomas, the tragic Welsh poet from whom he derived his stage persona (after leaving behind his family name, Zimmerman). Unlike Bob Dylan, Dylan Thomas was an accomplished lyrical poet whose inspiration was based on an authentic folk source: the Celtic oral culture of Wales. Thomas’s body of work is intensely original but strongly disciplined, whereas Bob Dylan’s output has been markedly derivative and clumsy. The medieval troubadours and singers of archaic sagas with whom Bob Dylan is compared were, unlike their contemporary impersonator, equally disciplined in their writings and recitations.
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Consulate General of Greece in Los Angeles
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✍️ #OnThisDay, in 1996, the Nobel Prize awarded poet Odysseus Elytis passed away.
5️⃣ things you may not know about one of the foremost Greek literary poets of the 20th century:
1️⃣ He was born in...
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en
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Nobel Prize for Literature
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[
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en
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/Portals/0/favicon.ico
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Jon Fosse
The Nobel Prize for Literature is awarded to an individual based on the body of their published work. In his will, Swedish scientist Alfred Nobel stipulated that a portion of his estate be awarded "to the person who shall have produced in the field of literature the most outstanding work of an idealistic tendency."
The Nobel Prize in Literature for 2023 was awarded to Jon Fosse, "For his innovative plays and prose which give voice to the unsayable."
|
||||||
correct_award_00067
|
FactBench
|
3
| 35
|
http://athensfirstcemeteryinenglish.blogspot.com/2020/03/odysseas-elytis.html
|
en
|
Athens First Cemetery in English: Odysseas Elytis
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[
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Odysseas Elytis ΟΔΥΣΣΕΑΣ ΕΛΥΤΗΣ Born Nov 2, 1911 Died March 18, ...
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el
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http://athensfirstcemeteryinenglish.blogspot.com/favicon.ico
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http://athensfirstcemeteryinenglish.blogspot.com/2020/03/odysseas-elytis.html
| ||||||
correct_award_00067
|
FactBench
|
3
| 42
|
https://nordstjernan.com/news/organizations/1710/
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en
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Nordstjernan
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Page description
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en
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/favicon.ico
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https://www.mywebsite.com/page
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Dr. Alfred Bernhard Nobel
Nobel by name, noble by nature
The last will and testament of Dr. Alfred Bernhard Nobel guaranteed the engineer a permanent place in history and, in the process, gave Sweden arguably the most exclusive brand name on the planet.
"The whole of my remaining realizable estate shall be dealt with in the following way: the capital, invested in safe securities by my executors, shall constitute a fund, the interest on which shall be annually distributed in the form of prizes to those who, during the preceding year, shall have conferred the greatest benefit to mankind."
Oe Kenzaburo receives the Nobel Prize in Literature in 1994, awarded by H.R.H. Carl XVI Gustaf, the King of Sweden. Published in Nordic Reach/Sweden & America, 2001.
Even in his wildest dreams, the author of these words could hardly have realized the impact his bequest would have on the world. Dated November 27, 1895, the last will and testament of Dr. Alfred Bernhard Nobel guaranteed the engineer a permanent place in history and, in the process, gave Sweden arguably the most exclusive brand name on the planet.
This is what the certificate looks like. Odysseas Elytis was awarded the Nobel Prize in Literature in 1974. Published in Nordic Reach/Sweden & America, 2001.
In a society where success is judged predominately in commercial terms, there is thankfully at least one institution standing that still recognizes and rewards the finest human and humane endeavors. Nobel Prize laureates might not receive the same publicity as Olympic champions or Oscar winners, but then again, the Nobel Prize is not about transient achievements. Its founder made clear that he desired his patronage be bestowed only on the extraordinary in fields outside of the realms of popular culture; a small band of people who have helped to define and often change the course of history for the common good. He may have been shooting for the stars, but were he alive today, he would probably be content to see that his wishes largely have been fulfilled.
Each year, the banquet at Stockholm City Hall is the event of the year. Published in Nordic Reach/Sweden & America, 2001.
As the inventor of dynamite and other explosives, Nobel has a legacy often questioned. Did he, as a person responsible for accelerating the destructive powers of mankind, seek to salve his conscience by redirecting the major portion of his vast fortune into what could be considered one of the most expensive public relations campaigns ever staged?
The table setting a fine example of recent Scandinavian design through and through. Published in Nordic Reach/Sweden & America, 2001.
Because the Swede, who died in Italy in 1896, never outlined his personal reasons for inaugurating the Prizes, commentators can only guess. But the PR theory fails to paint the full picture. Nobel was more than just a brilliant inventor and successful business tycoon.
The Nobel monument in New York City's Theodore Roosevelt Park honoring all American Nobel Laureates unveiled by New York's Mayor Michael R. Bloomberg and Sweden's Deputy Prime Minister at the time, Ms. Margareta Winberg, on October 14, 2003. Published in Nordic Reach, 2003.
Born in Stockholm in 1833, Alfred Nobel was one of four sons born to Immanuel and Caroline Nobel. Alfred showed a keen interest in engineering early on, and learned the basics from his father. In 1837, his father left Stockholm after several business failures for St. Petersburg, where he built a successful company that manufactured explosives and machine tools. In 1842, Immanuel brought Alfred and the rest of the family to join him in Russia. Such was Immanuel’s new wealth that he was able to have his sons educated by private tutors.
By the age of sixteen, Alfred spoke five languages fluently and was a budding chemist. In 1850, he moved to Paris to study this discipline, and it there that the seeds that would one day become the Nobel Prizes began to germinate.
It is knowledge, and mankind’s appreciation of it, be it social or scientific, that lie at the very root of the ideology of the Nobel prizes. The selection of Laureates is, as one might imagine a complex task, the selection machinery itself mirroring the overall structure of the Prize’s multifaceted approach, as can be seen not the least by this years winner of the Nobel Peace Prize, the nomination and selection of Nobel Prize winners varies accordingly to category and prize-awarding institutions.
Many Americans among winners
A number of Americans received Nobel Prizes in recent years. This year's Nobel Chemistry Prize was split between a UK-, an Israel-, and a U.S. based researcher (http://www.nordstjernan.com/news/sweden/1707/) and the Nobel Prize in Medicine went to three American researchers (http://www.nordstjernan.com/news/sweden/1700/).
In the year 2000, Sweden’s Dr. Arvid Carlsson shared this prize with Paul Greengard and Eric R. Kandel, both from the U.S. Their selection fell nicely in line with Nobel’s wish that, “no consideration shall be given to the nationality of the candidates, but that the most worthy shall receive it, whether he be Scandinavian or not.” Winners from other categories that year included Jack S. Kilby from Texas Instruments in Physics; and Alan J. Heeger and Alan G. MacDiarmid from the University of California at Santa Barbara and University of Pennsylvania, respectively, who shared the Prize in Chemistry with Dr. Shirakawa from the University of Tsukuba in Japan. Americans James J. Heckman and Daniel L. McFadden received the Bank of Sweden Prize in Economic Sciences in memory of Alfred Nobel, for a total of seven U.S. citizens honored in the year 2000.
Winners of the this year's Nobel Prizes will receive SEK 10M (about $1.4 million), compared to SEK 115,000 back in 1923. The greatest increase in prize money came in 1969, when the Prize in Economic Sciences was added. Winners also receive an impressive medal and a certificate as well as the knowledge that they are likely to go down in history as one of this world’s most talented individuals.
These celebrations mark a milestone in what most of us have come to see as an accolade for individuals who have widened the domains of research and understanding to new higher levels. As a result, Nobel will for many of us be ever synonymous with the quest for peace, of brave struggle against the face of evil, and of hope.
In the words of a fine man, a great orator and one of America’s brightest sons, “I think Alfred Nobel would know what I mean when I say that I accept this award in the spirit of a curator of some precious heirloom which he holds in trust for its true owners – all those to whom beauty is truth, and truth is beauty – and in whose eyes the beauty of genuine brotherhood and peace is more precious than diamonds, or silver, or gold.’ (From the Nobel Prize acceptance speech given by Dr. Martin Luther King, Dec. 10, 1964).
|
|||||
correct_award_00067
|
FactBench
|
2
| 4
|
https://en.wikipedia.org/wiki/1963_Nobel_Prize_in_Literature
|
en
|
1963 Nobel Prize in Literature
|
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https://en.wikipedia.org/wiki/1963_Nobel_Prize_in_Literature
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Award
1963 Nobel Prize in LiteratureGiorgos SeferisDate
24 October 1963 (announcement)
10 December 1963
(ceremony)
LocationStockholm, SwedenPresented bySwedish AcademyFirst awarded1901WebsiteOfficial website
← 1962 · Nobel Prize in Literature · 1964 →
The 1963 Nobel Prize in Literature was awarded the Greek poet and diplomat Giorgos Seferis (1900–1971) "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture."[1] He is the first Greek laureate to win the Nobel Prize (followed later by Odysseas Elytis in 1979).
Main article: Giorgos Seferis
Giorgos Seferis was born in Smyrna (present day Izmir, Turkey). When his family moved to France in 1918, he studied law at the University of Paris and became interested in literature. He then went to Athens in 1925 and began a long diplomatic career. During World War II, Seferis accompanied the Free Greek Government in exile and returned to liberated Athens in 1944. Many of his, which are replete with themes of alienation, traveling, and death, are set against the backdrop of his extensive travels as a diplomat. Turning Point, his debut book of poems, was released in 1931. In his later poetry, Seferis frequently weaves together modern speech and experience with Homeric myth, notably in works like Mythistorema (1935) and Imerologio Katastromatos I-III (1940-1955).[2][3]
Seferis was first nominated in 1955 by Romilly Jenkins (1907–1969), an English professor in Byzantine and Modern Greek literature, and was followed by nominations from T. S. Eliot, C. A. Trypanis and Eyvind Johnson until he was eventually awarded. He only received 5 nominations.[4]
In total, the Nobel Committee of the Swedish Academy received 121 nominations for 81 distinguished authors such as Jorge Luis Borges, Jean-Paul Sartre (awarded in 1964), Martin Buber, E. M. Forster, Graham Greene, Salvador de Madariaga, André Malraux, and Ramón Menéndez Pidal. The highest number of nominations (with 8 nominations) was for the American poet Robert Frost.[a] 22 of the nominees were nominated for the first time like Marcel Jouhandeau, Vladimir Nabokov, Michel Butor, Yukio Mishima, Jean Cocteau, André Breton, Nelly Sachs (awarded in 1966), René Étiemble, and Yevgeny Yevtushenko. Five of the nominees were women, namely Ingeborg Bachmann, Juana de Ibarbourou, Gertrud von le Fort, Kate Roberts, and Nelly Sachs. Surprisingly, two heads of state and government were nominated: French president Charles de Gaulle and Senegalese president Léopold Sédar Senghor.[5][6]
The authors Ion Agârbiceanu, Herbert Asbury, Luis Cernuda, W. E. B. Du Bois, Pola Gojawiczyńska, Edith Hamilton, Christopher Hassall, Nâzım Hikmet, Ernst Kantorowicz, C. S. Lewis, Marie Linde, Brinsley MacNamara, Louis MacNeice, Margaret Murray, Clifford Odets, Yōko Ōta, Sylvia Plath, Theodore Roethke, Kay Sage, Tristan Tzara, Hilda Vīka, William Carlos Williams, and Stark Young died in 1963 without having been nominated for the prize. The American poet Robert Frost died months before the announcement.
Official list of nominees and their nominators for the prize No. Nominee Country Genre(s) Nominator(s) 1 Stefan Andres (1906–1970) Germany novel, short story Friedrich von der Leyen (1873–1966) 2 Jean Anouilh (1910–1987) France drama, screenplay, translation Henry Olsson (1896–1985) 3 Louis Aragon (1897–1982) France novel, short story, poetry, essays
Michel Décaudin (1919–2004)
Pierre Grappin (1915–1997)
Jean Martin (1926–2007)
4 Wystan Hugh Auden (1907–1973) United Kingdom
United States poetry, essays, screenplay
Ronald Peacock (1907–1993)
Henry Olsson (1896–1985)
5 Ingeborg Bachmann (1926–1973) Austria poetry, drama, novel, short story, essays Harald Patzer (1910–2005) 6 Samuel Beckett (1906–1989) Ireland novel, drama, poetry Johannes Edfelt (1904–1997) 7 Werner Bergengruen (1892–1964) Germany novel, short story, poetry Friedrich von der Leyen (1873–1966) 8 Jorge Luis Borges (1899–1986) Argentina poetry, essays, translation, short story Henry Olsson (1896–1985) 9 André Breton (1896–1966) France history, poetry, essays Gabriel Germain (1903–1978) 10 Martin Buber (1878–1965) Austria
Israel philosophy André Neher (1914–1988) 11 Michel Butor (1926–2016) France poetry, novel, essays, translation Jean Humbert (1901–1980) 12 Heinrich Böll (1917–1985) Germany novel, short story Gustav Korlén (1915–2014) 13 Josep Carner (1884–1970) Spain poetry, drama, translation
Antoni Maria Badia i Margarit (1920–2014)
Agustín Durán Sanpere (1887–1975)
Georg Schiffauer (?)
14 Emilio Cecchi (1884–1966) Italy literary criticism, screenplay Howard Rosario Marraro (1897–1972) 15 René Char (1907–1988) France poetry
M. Parent (?)
Georges Blin (1917–2005)
16 Jean Cocteau (1889–1963) France novel, poetry, drama, screenplay, essays Léon Cellier (1911–1976) 17 Charles de Gaulle (1890–1970) France memoir, essays
Jacques Robichez (1914–1999)
Jean Ricci (1933–2011)
18 Lawrence Durrell (1912–1990) United Kingdom novel, short story, poetry, drama, essays
Erich Burck (1901–1994)
Paul Verniére (1916–1997)
19 Ingemar Düring (1903–1984) Sweden philology, biography, translation Franz Dirlmeier (1904–1977) 20 Friedrich Dürrenmatt (1921–1990) Switzerland drama, novel, short story, essays
John V. Hagopian (?)
Friedrich Sengle (1909–1994)
21 René Étiemble (1909–2002) France novel, literary criticism, essays Auguste Haury (1910–2002) 22 Edward Morgan Forster (1879–1970) United Kingdom novel, short story, drama, essays, biography, literary criticism
Carl Becker (1925–1973)
Simeon Potter (1898–1976)
Kenneth Muir (1907–1996)
23 Max Frisch (1911–1991) Switzerland novel, drama
Franz Karl Stanzel (b. 1923)
H. M. Heinrich (?)
24 Robert Frost (1874–1963) United States poetry, drama
Meyer Howard Abrams (1912–2015)
Donald Frame (1911–1991)
Moses Hadas (1900–1966)
George Harris Healey (1908–1971)
Frederick Albert Pottle (1897–1987)
Carl Woodring (1919–2009)
Lewis Gaston Leary (1906–1990)
Wallace Stegner (1909–1993)
25 Rómulo Gallegos (1884–1969) Venezuela novel, short story
Gustavo Luis Carrera (b. 1933)
Eugenio Florit (1903–1999)
26 Jean Giono (1895–1970) France novel, short story, essays, poetry, drama
Henri Fluchère (1898–1987)
Raymond Lebègue (1895–1984)
27 Robert Graves (1895–1985) United Kingdom history, novel, poetry, literary criticism, essays Douglas Grant (1885–1951) 28 Graham Greene (1904–1991) United Kingdom novel, short story, autobiography, essays
Robert Niklaus (1910–2001)
Gabriel Turville-Petre (1908–1978)
Frank Kermode (1919–2010)
29 Jean Guéhenno (1890–1978) France essays, literary criticism Edmond Jarno (1905–1985) 30 Jorge Guillén (1893–1984) Spain poetry, literary criticism Henri Peyre (1901–1988) 31 Taha Hussein (1889–1973) Egypt novel, short story, poetry, translation Charles Pellat (1914–1992) 32 Aldous Huxley (1894–1963) United Kingdom novel, short story, essays, poetry, screenplay, drama, philosophy
Heinrich Donner (1735–1805)
José Axelrad (1915–1969)
33 Juana de Ibarbourou (1892–1979) Uruguay poetry, essays Academia Nacional de Letras 34 Jarosław Iwaszkiewicz (1894–1980) Poland poetry, essays, drama, translation, short story, novel Jean Fabre (1904–1975) 35 Eyvind Johnson (1900–1976) Sweden novel, short story
Frédéric Durand (1920–2002)
Carl-Eric Thors (1920–1986)
36 Marcel Jouhandeau (1888–1979) France short story, novel Jean Gaulmier (1905–1997) 37 Yasunari Kawabata (1899–1972) Japan novel, short story Henry Olsson (1896–1985) 38 Miroslav Krleža (1893–1981) Yugoslavia
Croatia poetry, drama, short story, novel, essays Association of Writers of Yugoslavia 39 Gertrud von Le Fort (1876–1971) Germany novel, short story, essays, poetry Friedrich von der Leyen (1873–1966) 40 Väinö Linna (1920–1992) Finland novel
Aarni Penttilä (1899–1971)
Erik Lindegren (1910–1968)
Elias Wessén (1889–1981)
41 Karl Löwith (1897–1973) Germany philosophy Franz Dirlmeier (1904–1977) 42 Salvador de Madariaga (1886–1978) Spain essays, history, law, novel Jean Camp (1891–1968) 43 André Malraux (1901–1976) France novel, essays, literary criticism
Michel Décaudin (1919–2004)
Yves Le Hir (1919–2005)
Pierre Jonin (1912–1997)
Léon Cellier (1911–1976)
44 Ramón Menéndez Pidal (1869–1968) Spain philology, history
Rudolf Großmann (1882–1941)
Gunnar Tilander (1894–1973)
A. Mas (?)
45 Yukio Mishima (1925–1970) Japan novel, short story, drama, literary criticism Johannes Rahder (1898–1988) 46 Vilhelm Moberg (1898–1973) Sweden novel, drama, history Gösta Bergman (1894–1984) 47 Henry de Montherlant (1895–1972) France essays, novel, drama Louis Moulinier (1904–1971) 48 Alberto Moravia (1907–1990) Italy novel, literary criticism, essays, drama
Olof Brattö (1915–2007)
Elias Wessén (1889–1981)
49 Stratis Myrivilis (1890–1969) Greece novel, short story The Greek Authors' Union 50 Vladimir Nabokov (1899–1977) Russia
United States novel, short story, poetry, drama, translation, literary criticism, memoir Robert Martin Adams (1915–1996) 51 Pablo Neruda (1904–1973) Chile poetry
Ragnar Josephson (1891–1966)
Eyvind Johnson (1900–1976)
52 Junzaburō Nishiwaki (1894–1982) Japan poetry, literary criticism Japan Academy 53 Seán O'Casey (1880–1964) Ireland drama, memoir The English PEN-Club 54 Rudolf Pfeiffer (1889–1979) Germany philology, essays Will Richter (1910–1984) 55 Ezra Pound (1885–1972) United States poetry, essays Rudolf Sühnel (1907–2007) 56 Vasco Pratolini (1931–1991) Italy novel, short story Paul Renucci (1915–1976) 57 Henri Queffélec (1910–1992) France novel, short story, screenplay Barthélémy-Antonin Taladoire (1907–1976) 58 Sarvepalli Radhakrishnan (1888–1975) India philosophy, essays, law
Suniti Kumar Chatterji (1890–1977)
Arthur John Arberry (1905–1969)
59 Kate Roberts (1891–1985) United Kingdom novel, short story, essays Idris Foster (1911–1984) 60 Jules Romains (1885–1972) France poetry, drama, screenplay Gilbert Highet (1906–1978) 61 Nelly Sachs (1891–1970) Germany
Sweden poetry, drama
Gerhard Heilfurth (1909–2006)
Karl Ragnar Gierow (1904–1982)
62 Aksel Sandemose (1899–1965) Denmark
Norway novel, essays Eyvind Johnson (1900–1976) 63 Jean-Paul Sartre (1905–1980) France philosophy, novel, drama, essays, screenplay
Lennart Breitholtz (1909–1998)
Sergey Konovalov (1899–1982)
Henry Bardon (1910–2003)
Robert-Léon Wagner (1905–1982)
64 Giorgos Seferis (1900–1971) Greece poetry, memoir, essays Eyvind Johnson (1900–1976) 65 Ramón José Sender (1901–1982) Spain novel, essays Erik Lindegren (1910–1968) 66 Léopold Sédar Senghor (1906–2001) Senegal poetry, law, essays Robert Schilling (1913–2004) 67 Ignazio Silone (1900–1978) Italy novel, short story, essays, drama Elias Wessén (1889–1981) 68 Georges Simenon (1903–1989) Belgium novel, short story, memoir Justin O'Brien (1906–1968) 69 Charles Percy Snow (1905–1980) United Kingdom novel, essays Friedrich Schubel (1904–1991) 70 Mikhail Sholokhov (1905–1984) Russia novel Jack Posin (1900–1995) 71 Jun'ichirō Tanizaki (1886–1965) Japan novel, short story Donald Keene (1922–019) 72 Gustave Thibon (1903–2001) France philosophy Édouard Delebecque (1910–1990) 73 Lionel Trilling (1905–1975) United States essays, literary criticism, short story Charles Warren Everett (1895–1983) 74 Pietro Ubaldi (1886–1972) Italy philosophy, essays Academia Santista de Letras 75 Mika Waltari (1908–1979) Finland short story, novel, poetry, drama, essays, screenplay Aapeli Saarisalo (1896–1986) 76 Elias Venezis (1904–1973) Greece novel, short story The Greek Authors' Union 77 Erico Verissimo (1905–1975) Brazil novel, short story, autobiography, essays, translation Jean Roche (1901–1992) 78 Tarjei Vesaas (1897–1970) Norway poetry, novel
Sigmund Skard (1903–1995)
Johannes Andreasson Dale (1898–1975)
79 Thornton Wilder (1897–1975) United States drama, novel, short story
Hans Peter Wapnewski (1922–2012)
Arthur Henkel (1915–2005)
80 Edmund Wilson (1895–1972) United States essays, literary criticism, short story, drama Joseph Anthony Mazzeo (1923–1998) 81 Yevgeny Yevtushenko (1932–2017) Russia poetry, novel, short story, drama, screenplay, essays Konrad Bittner (1890–1967)
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Elytis, Odysseus
|
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"Athens",
"GreeceNATIONALITY: GreekGENRE: Poetry",
"nonfictionMAJOR WORKS:Orientations (1939)The Axion Esti (1959)Maria Nefeli (1978)The Little Mariner (1988)West of Sadness (1995)"
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Odysseus ElytisBORN: 1911, Heraklion, Crete, GreeceDIED: 1996, Athens, GreeceNATIONALITY: GreekGENRE: Poetry, nonfictionMAJOR WORKS:Orientations (1939)The Axion Esti (1959)Maria Nefeli (1978)The Little Mariner (1988)West of Sadness (1995) Source for information on Elytis, Odysseus: Gale Contextual Encyclopedia of World Literature dictionary.
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/elytis-odysseus
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Odysseus Elytis
BORN: 1911, Heraklion, Crete, Greece
DIED: 1996, Athens, Greece
NATIONALITY: Greek
GENRE: Poetry, nonfiction
MAJOR WORKS:
Orientations (1939)
The Axion Esti (1959)
Maria Nefeli (1978)
The Little Mariner (1988)
West of Sadness (1995)
Overview
An internationally acclaimed poet who is considered among the foremost Greek literary figures of the twentieth century, Odysseus Elytis celebrated the splendors of nature while affirming humanity's ability to embrace hope over despair. Combining his interest in surrealism with lyrical evocations of Greek landscape, history, and culture, Elytis created poems that exalt the virtues of sensuality, innocence, and imagination while striving to reconcile these attributes with life's tragic aspects. A recipient of the 1979 Nobel Prize in Literature, Elytis was cited by the Swedish Academy for writing “poetry which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativity.”
Works in Biographical and Historical Context
Childhood Summers by the Sea The youngest of six children, Elytis was born in Heraklion, Crete, to a wealthy industrialist and his wife. He attended primary and secondary schools in Athens before enrolling at the University of Athens School of Law. As a youth, Elytis spent his summer vacations on the Aegean Islands, absorbing the seaside atmosphere that deeply informs the imagery of his verse. Also essential to Elytis's poetic development was his attraction to surrealism, which he developed during the late 1920s through the works of French poet Paul Éluard.
Artistic Awakening In 1935, after leaving law school, Elytis displayed several visual collages at the First International Surrealist Exhibition in Athens and began publishing poems in various Greek periodicals. His first collection of verse, Orientations, focuses on the beauty of the Aegean landscape. These poems also display Elytis's affinity for such surrealistic devices as the portrayal of supernatural occurrences, exploration of the unconscious, and personification of abstract ideas and natural phenomena. In his next volume, Sun the First, Elytis confirmed his predilection for examining nature's intrinsic relationship with human spirituality.
Reflections of War in Poetry During World War II, Italy and Germany were allied. Italy's dictator, Benito Mussolini, grew anxious to emulate the territorial expansion of Germany's leader Adolf Hitler, and resolved to seized Greece. During the Italian invasion of Greece in 1940 and 1941, Elytis served on the Albanian front as a second lieutenant in Greece's First Army Corps. The heroism he witnessed amid the tragedy and suffering of combat is reflected in his long poem Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign. Centering on the death of a young Greek soldier whose transfiguration and resurrection serves as an affirmation of justice and liberty, this work advances Elytis's concerns with the merging of physical and spiritual existence and pays tribute to those individuals who resist oppression and defend freedom.
Immersion in Civic and Cultural Affairs Following the publication of Heroic and Elegiac Song, Elytis ceased producing poetry for more than a decade, immersing himself in civic and cultural affairs. From 1948 to 1953, during a period of civil war and subsequent civil unrest in Greece, Elytis lived in Paris, where he studied at the Sorbonne and wrote articles in French for Verve magazine. Several years after returning to Greece, Elytis published The Axion Esti, an intricately structured cycle alternating prose and verse. Indebted for much of its tone, language, symbolism, and structure to the liturgy of the Greek Orthodox Church, The Axion Esti incorporates elements of Christianity and images of Grecian landscapes and culture while augmenting Elytis's concern for the spirituality of the material world.
In the 1960s, translators abroad began to take notice of Elytis's poetry, and translations of his poems appeared in German, English, Italian, and French. During this period, Elytis traveled extensively. In 1961 he journeyed to the United States as a guest of the State Department; in 1962 he visited the Soviet Union; in 1965 he toured Bulgaria; in 1967, just before the military coup, he visited Egypt; and in 1969 he moved to Paris.
1979 Nobel Prize in Literature In 1975 Elytis was offered an honorary doctorate from the Philosophical School of the University of Thessaloníki, and he was proclaimed an honorary citizen of Lesbos. In 1979 he was proclaimed an honorary citizen of Heracleion, Crete. In 1975 Books Abroad dedicated an entire issue to his poetry. The greatest surprise for the poet, however, came in October 1979, when the secretary of the Swedish Academy announced the awarding of the 1979 Nobel Prize in Literature to Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness.” Other candidates for the 1979 Nobel Prize in Literature included Graham Greene, Jorge Luis Borges, Gabriel García Márquez, and Simone de Beauvoir. The announcement was received with tremendous enthusiasm in Greece.
Post-Nobel Popularity Elytis lived and continued to create for seventeen years after receiving the Nobel Prize
in Literature. His post-Nobel popularity kept him busy. The few years that immediately followed the Nobel presentation were spent almost entirely on award receptions, presentations, and speeches around the globe. In 1980 he was presented with an honorary doctorate from the Sorbonne in France, and in 1981 he received an honorary doctorate from the University of London. He was also declared an honorary citizen of Larnaca and Paphos (Cyprus), and he was invited by the Spanish prime minister Adolfo Suárez González to visit Spain, where he was declared an honorary citizen of Toledo (in the fall of 1980). The Royal Society of Literature (United Kingdom) presented him with the Benson Medal in 1981, an award given as lifetime recognition in poetry, fiction, history, and belles lettres. Also in 1981, Rutgers University, in the United States, established the Elytis Chair of Modern Greek Studies in honor of the poet, and in March 1982 he was presented, by Mayor D. Beis of Athens, with the Gold Medal of Honor of the City of Athens. During the 1980s Elytis published three collections of poetry: Tria Poiîmata me sîmaia Eykairias (1982, Three Poems Under a Flag of Convenience), Îmerologio enos Atheatou Apriliou (1984; translated as Journal of an Unseen April, 1998), and O Mikros Nautilos (1986; translated as The Little Mariner, 1999).
West of Sadness Elytis's final collection, Dytika tîs Lypîs (1995, translated West of Sadness) was written in the summer of 1995 in Porto Rafti, Greece, where the poet was vacationing with fellow poet Ioulita Iliopoulou, who had been his partner for about a decade (he had never married nor had children). The seven poems of the collection are “more dense,” as Elytis wrote, “and for this reason more difficult, but closer to my ideal.” The title of the collection signals its mood: on one hand, the life of the eighty-three-year-old poet is moving westward toward its setting; but on the other hand, it also moves “west of sorrow,” that is, beyond where sorrow itself sets. The biographical events in the poet's life are insignificant: “what remains,” the collection concludes, “is poetry alone.”
Elytis died of a stroke in his apartment in Athens on March 18, 1996. A posthumous collection titled Ek tou Plîsion (From Nearby) was put together by his heir, Iliopoulou, and was published in 1998.
Works in Literary Context
Elytis's poetry is often read in the context of surrealism, the artistic movement known for its rejection of objective reality. Indeed, he is the translator of numerous surrealist texts into Greek and has written extensively on the subject, many of these essays collected in the volume The Open Book. Significantly, in 1991 an exhibition of Greek poetry and painting, including work by Elytis, was staged at the Georges Pompidou Centre Paris, titled “Surrealist Greeks.” This title is especially accurate in describing Elytis, because although Elytis's work does incorporate many of the elements of surrealism, it is equally important to remember where Elytis comes from, as he infuses his writing with the rich culture, heritage, landscapes, and literary traditions of his native Greece.
“Greek Reality” Although Elytis engages with contemporary surrealism in his poems, it would be misleading to exaggerate the extent of the poet's commitment to any movement. Even in the early verse, surrealism is adapted (to borrow Elytis's own term) as the poet confronts “Greek reality,” drawing upon the resources of a native poetic tradition. In fact Elytis has been outspoken in stressing his intimate poetic relationship to Greek literary figures as diverse as Andreas Kalvos (1946) and Alexandros Papadiamantis (1976). Moreover, echoes from Greek folk poetry, Byzantine hymns, and liturgical texts reverberate through his poetry. As Elytis remarked in his Nobel acceptance speech in 1979, the poet must simultaneously “recast the elements to the social and psychological requirements of [his] age.” Echoes from the German poets Friedreich Holderlin and Novalis interact with allusions to the national Greek poet Dionysios Solomos.
LITERARY AND HISTORICAL CONTEMPORARIES
Elytis's famous contemporaries include:
George Seferis (1900–1971): Greek poet who became the first Greek to win the Nobel Prize in Literature in 1963.
Mikis Theodorakis (1925–): One of Greece's best-known composers, Theodorakis scored films such as Zorba the Greek (1969) and Serpico (1973), and also put Elytis's The Axion Esti to music.
Panagiotis Kanellopoulos (1902–1986): Greek author and politician who briefly served as prime minister of Greece twice, in 1945 and in 1967.
André Breton (1896–1966): French writer often credited as the main founder of the surrealist movement.
PaulÉluard (1895–1952): This French poet, partially influenced by the American author Walt Whitman, was associated with the founding of the surrealist movement.
Surrealism and the Free Association of Ideas Elytis adapted only selected principles of surrealism to his Greek reality. Some other characteristics of surrealism, such as automatic writing, were considered unacceptable to Elytis. Free association of ideas, a concept he often made use of, allowed him to portray objects in their “reality” but also in their “surreality.” This is shown in various poems, as when a young girl is transformed into a fruit, a landscape becomes a human body, and the mood
of a morning takes on the form of a tree. “I have always been preoccupied with finding the analogies between nature and language in the realm of imagination, a realm to which the surrealists also gave much importance, and rightly so,” claimed Elytis. “Everything depends on imagination, that is, on the way a poet sees the same phenomenon as you do, yet differently from you.”
Orientations, published in 1936, was Elytis's first volume of poetry. Filled with images of light and purity, the work earned for its author the title of the “sun-drinking poet.” Edmund Keeley, a frequent translator of Elytis's work, observed that these “first poems offered a surrealism that had a distinctly personal tone and a specific local habitation. The tone was lyrical, humorous, fanciful, everything that is young.”
Popularity Today Resists Classification Odysseus Elytis's popularity in Greece remains astounding. He became a national commodity after the Nobel Prize, as evident in a continuous inclusion of his name in cultural and national symbolism: More than a dozen streets in Greece and Cyprus are named after him; a life-size statue sculpted by Yiannis Papas was placed in one of Kolonaki's most central squares (Plateia Dexamenis); and a cruise ship, a theater on the island of Ios, and a hotel in Thessaly have all been given his name. Biographical information and scattered lines from his poetry adorn tourist pamphlets enticing visitors to travel to the Greek islands. Such cultural incorporation comes as a stark contrast not only in relation to the deeper essence of his poetry but also to the ascetic life he had led in his small apartment. Elytis's poetry clearly resists superficial classifications. His multifaceted style of writing, along with his lucid theoretical formulations, earned him an enduring place in modern Greek literature.
Works in Critical Context
When Maria Nefeli was first published in 1978, it met with a curious yet hesitant public. M. Byron Raizis related in World Literature Today that “some academicians and critics of the older generations still [wanted] to cling to the concept of the ‘sun-drinking’ Elytis of the Aegean spume and breeze and of the monumental Axion Esti,” and for that reason viewed this new work as “an experimental and not-so-attractive creation of rather ephemeral value.”
The Eternal Female The reason behind the uncertainty many Elytis devotees felt toward this new work stemmed from its radically different presentation. Whereas his earlier poems dealt with the almost timeless expression of the Greek reality, “rooted in my own experience, yet … not directly [transcribing] actual events,” as he once stated, Maria Nefeli is based on a young woman he actually met. Different from the women who graced his early work, the woman in Elytis's poem has changed to reflect the troubled times in which she lives. “This Maria then is the newest manifestation of the eternal female,” noted Raizis, “the most recent mutation of the female principle which, in the form of Maria, Helen and other more traditional figures, had haunted the quasi-idyllic and erotic poems of [Elytis's youth].” Raizis explained further that Maria is the “attractive, liberated, restless or even blasé representative of today's young woman…. Her setting is the polluted city, not the open country and its islands of purity and fresh air.”
COMMON HUMAN EXPERIENCE
Surrealism is often remembered as a movement in the visual arts—painting, in particular. But as its striking images and the way the juxtaposition of seemingly unrelated images impressed viewers of the visual arts in the early years of the movement, it is easy to forget that surrealists developed out of a literary school—the Dadaist school—that emphasized sound over reason in their poems. Here are a few more works of surrealism that were produced at the time Elytis worked in the form:
The Magnetic Fields (1920), a novel by André Breton and Philippe Soupault. This work is considered the first surrealist novel because its authors utilized the “automatic writing” technique characteristic of surrealism. In “automatic writing,” a writer attempts to write continuously while purposely trying not to think about the words he or she is writing.
Night of Loveless Nights (1926), a poem by Robert Desnos. Desnos is considered one of the founding fathers of literary surrealism, and this extended poem about unrequited love is one of his finest.
Le Paysan de Paris (1926), a surrealist text by Louis Aragon. This work represents a loving portrayal of the places and people that make up the surrealist movement—a kind of literary portrait—written at the peak of surrealism's influence.
The Persistence of Memory (1931), a painting by Salvador Dalí. In this surrealist work, clocks are depicted as melting and hanging over a tree, a horse, and a desk, thereby exemplifying surrealism's interest in juxtapositions of unlikely images
Lyrical Humanism Despite the initial reservations voiced by some critics, Maria Nefeli has come to be regarded as the best of Elytis's later writings. Gini Politi, for example, announced: “I believe that Maria Nefeli is one of the most significant poems of our times, and the response to the agony it includes is written; this way it saves for the time being the language of poetry and of humaneness.” Kostas Stamatiou, moreover, expressed a common reaction to the work: “After the surprise of a first reading, gradually the careful student discovers beneath the surface the constants of the great poet: faith in surrealism, fundamental humanism, passages of pure lyricism.”
Responses to Literature
Surrealism is a fairly unique artistic movement insofar as it has influenced artists of various media, including both visual and literary arts. Read Elytis's Orientations and look at Salvador Dali's The Persistence of Memory. In what ways do both works use surrealist elements similarly? In what ways do the two works display different surrealist traits?
Read The Axion Esti. This text has been said to be indebted to the Greek Orthodox Church. How does Elytis use the themes and language of the church in these poems, either to evoke a tradition or to critique that tradition? In your response, make sure to cite specific passages from Elytis's work to support your claim.
Many authors who otherwise were in tune with the artistic ideals of surrealism eventually moved away from the movement because of its communist ethics. Using the Internet and the library, research the surrealist movement's relationship to communism. Then, in a short essay, analyze how surrealist authors—including but not limited to Elytis—and artists use their work to support or refute communist ideals.
Elytis loved his home country of Greece and wanted to express its beauty through his poems. Because of the effectiveness of these poems in expressing the beauty of Greece and the Aegean Sea, Elytis has been called a “sun-drinking” poet. Think about your own hometown. If you were a poet who was interested in describing the physical terrain and culture of your hometown, what would critics call you? Why? In order to answer these questions, you might try writing a few lines of verse in honor of your hometown to get you going.
BIBLIOGRAPHY
Books
Decavalles, Andonis. Odysseus Elytis: From the Golden to the Silver Poem. New York: Pella, 1994.
Demou, Nikos. Odysseus Elytis. Athens: Ekdoseis Nefeli, 1992.
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https://www.newgreektv.com/news-in-english-for-greeks/greece/item/33725-nobel-laureate-poet-odysseas-elytis-was-born-on-this-day
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Nobel laureate poet Odysseas Elytis was born on this day
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Odysseus Elytis was one of the most important Greeks. He was awarded the Nobel Prize in Literature in 1979. He was one of the select members of the so...
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https://www.newgreektv.com/news-in-english-for-greeks/greece/item/33725-nobel-laureate-poet-odysseas-elytis-was-born-on-this-day
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Odysseas Alepoudelis, as his real name was, was born on November 2, 1911 in Heraklion, Crete. He was the youngest of the six children of businessman Panagiotis Alepoudelis and his wife Maria Vrana, also from Lesvos. His father settled in Heraklion in 1895, where he founded a soap and kernel factory, and two years later he married his mother.
During the First World War in 1914, Panagiotis Alepoudelis moved his business to Athens and settled with his family at 98a Solonos Street. At the age of six, Odysseus enrolled in the private Lyceum of Makri, which was then located on Ippokratous Street. In 1918, his older sister Myrsini died at the age of just 20. In 1923, one year after the Asia Minor Catastrophe, the Alepoudelis family travelled abroad, to Italy, Switzerland, Germany, Yugoslavia. In 1924, in Lausanne, he met Eleftherios Venizelos, who was the political idol of his family.
In the autumn of 1924 he transferred to the 3rd High School for Boys in Athens. The next year his father died.
During his student years he collaborated with the magazine Diaplasis ton Paidon, he read Greek and French literature and in 1927 he came in contact with Cavafy's poetry. In 1928 he graduated from high school and came to know the poetry of Kostas Karyotakis. All these years Odysseus visited almost every summer one of the Aegean islands, a fact that will affect the lyrical background of his poetry.
In 1929 he discovered surrealism and read Lorca and Eliard. He wrote his first poems and sent them to magazines under a pseudonym. In 1930 he enrolled in the Law School of the University of Athens and his family moved to 146 Moschonision Street, in America Square. In 1933 he became a member of the Ideocratic Philosophical Group of the University and participated in events and discussions with Ioannis Sykoutris, Ioannis Theodorakopoulos, Panagiotis Kanellopoulos and Konstantinos Tsatsos.
In 1935 he will meet the poet and psychoanalyst Andreas Empirikos and the folk painter Theofilos. At the same time, his friend and colleague George Sarantaris brought him in contact with the literary company, published by the pioneering magazine Nea Grammata. It consisted, among others, of George Seferis, George Theotokas, George Katsimbalis and Andreas Karantonis. His first essay poem entitled Tou Agaiou, under his signature, Elytis was published in Nea Grammata.
In 1936 he met the poet Nikos Gatsos with whom he would be connected by a long and close friendship. Their company includes the painters Nikos Chatzikyriakos-Gikas and Giannis Moralis, as well as the poet Nikos Karydis, creator of the Ikaros publishing house, who will publish most of Elytis' books. At the same time he will stop his studies in Law and will enlist in the Hellenic Army. He was dismissed as a reserve officer in 1938.
In December 1939, in World War II, he published in 300 copies his first collection of poems entitled Orientations. In 1940 Samuel Beau-Bovi translated the first poems of Elytis into French.
With the outbreak of the Greek-Italian war, he was recruited as a lieutenant and in the winter of '40, he found himself in the front line of fire. In December 1940 he was advanced with his company inside the Albanian territory. At the beginning of 1941 he contracted typhoid and was transported, at death's door, to the hospital of Ioannina. He managed to escape the danger and was transported to Athens. His long recovery coincided with the German invasion of Greece and the Occupation.
In 1943 he published his second poetry collection "The Sovereign Sun" together with the "Variations on a ray", an allegorical resistance during the Occupation, camouflaged in a surrealist form, such as Amorgos of Gatsos and Bolivar of Eggonopoulos, which were published in the same year.
In 1945 he collaborated with the surrealist magazine Tetradio. He publishes translations of Lorca's poems and one of his own works, the "An Heroic And Funeral Chant For The Lieutenant Lost In Albania". In the same year, at the suggestion of George Seferis, he was appointed program director of the National Radio Foundation (EIR), a position from which he resigned after a while. During this period he engaged in painting, which was an old occupation of his, complementary to his poetry.
In 1948, during the Civil War, he left for Switzerland and from there to Paris, where he settled. There he became acquainted with the avant-garde of the French intelligentsia (Breton, Eliard, Jara, Camus) and came in contact with visual artists such as Picasso, Matisse, Chagall and Giacometti. In 1950 he visited Spain and at the end of the same year he settled in London, where he collaborated with the BBC.
In 1952 he returned to Greece and the following year returned to the EIR as program director, a position he would hold for only one year. In 1959 Axion Esti was released, a leading moment in Greek literature. This work of Elytis will be widely recognized and will become "the property of the people", when it will be set to music by Mikis Theodorakis in 1964.
In 1967, the coup of April 21 found him translating excerpts from Sappho, at his new residence at 23 Skoufa Street. After the fall of the dictatorship, he was appointed chairman of the Board of Directors of E.I.R.T. and a member for the second time of the Board of Directors of the National Theater (1974 - 1977). Despite the proposal of New Democracy to include him in the ballot of the deputies of the State, Elytis refuses, remaining faithful to his principle not to be actively involved in political practice. In 1977 he also refused to be named an Academician.
On October 18, 1979, the Swedish Academy announced that he would be awarded the Nobel Prize in Literature "for his poetry, which, based on the Greek tradition, describes with aesthetic power and high intellectual discretion, the struggle of modern man for freedom and creation." . The announcement of the Swedish Academy points out that Axion Esti is one of the masterpieces of 20th century poetry. Elytis attended the traditional award ceremony on December 10, 1979 in Stockholm, receiving the award from King Carl Gustav of Sweden.
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Various book awards and links to the books in our collection. Happy reading! The Nobel Prize in Literature has been awarded 108 times to 112 Nobel Laureates between 1901 and 2015..
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Annie Ernaux “for the courage and clinical acuity with which she uncovers the roots, estrangements and collective restraints of personal memory”
The Nobel Prize in Literature 2021
Abdulrazak Gurnah “for his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents”
The Nobel Prize in Literature 2020
Louise Glück “for her unmistakable poetic voice that with austere beauty makes individual existence universal”
The Nobel Prize in Literature 2019
Peter Handke “for an influential work that with linguistic ingenuity has explored the periphery and the specificity of human experience”
The Nobel Prize in Literature 2018
Olga Tokarczuk “for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life”
The Nobel Prize in Literature 2017
Kazuo Ishiguro “who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world”
The Nobel Prize in Literature 2016
Bob Dylan “for having created new poetic expressions within the great American song tradition”
The Nobel Prize in Literature 2015
Svetlana Alexievich “for her polyphonic writings, a monument to suffering and courage in our time”
The Nobel Prize in Literature 2014
Patrick Modiano “for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation”
The Nobel Prize in Literature 2013
Alice Munro “master of the contemporary short story”
The Nobel Prize in Literature 2012
Mo Yan “who with hallucinatory realism merges folk tales, history and the contemporary”
The Nobel Prize in Literature 2011
Tomas Tranströmer “because, through his condensed, translucent images, he gives us fresh access to reality”
The Nobel Prize in Literature 2010
Mario Vargas Llosa “for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat”
The Nobel Prize in Literature 2009
Herta Müller “who, with the concentration of poetry and the frankness of prose, depicts the landscape of the dispossessed”
The Nobel Prize in Literature 2008
Jean-Marie Gustave Le Clézio “author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization”
The Nobel Prize in Literature 2007
Doris Lessing “that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny”
The Nobel Prize in Literature 2006
Orhan Pamuk “who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures”
The Nobel Prize in Literature 2005
Harold Pinter“who in his plays uncovers the precipice under everyday prattle and forces entry into oppression’s closed rooms”
The Nobel Prize in Literature 2004
Elfriede Jelinek “for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society’s clichés and their subjugating power”
The Nobel Prize in Literature 2003
John M. Coetzee “who in innumerable guises portrays the surprising involvement of the outsider”
The Nobel Prize in Literature 2002
Imre Kertész “for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history”
The Nobel Prize in Literature 2001
Sir Vidiadhar Surajprasad Naipaul “for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories”
The Nobel Prize in Literature 2000
Gao Xingjian “for an æuvre of universal validity, bitter insights and linguistic ingenuity, which has opened new paths for the Chinese novel and drama”
The Nobel Prize in Literature 1999
Günter Grass “whose frolicsome black fables portray the forgotten face of history”
The Nobel Prize in Literature 1998
José Saramago who with parables sustained by imagination, compassion and irony continually enables us once again to apprehend an elusory reality”
The Nobel Prize in Literature 1997
Dario Fo “who emulates the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden”
The Nobel Prize in Literature 1996
Wislawa Szymborska “for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality”
The Nobel Prize in Literature 1995
Seamus Heaney “for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past”
The Nobel Prize in Literature 1994
Kenzaburo Oe “who with poetic force creates an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today”
The Nobel Prize in Literature 1993
Toni Morrison “who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality”
The Nobel Prize in Literature 1992
Derek Walcott “for a poetic oeuvre of great luminosity, sustained by a historical vision, the outcome of a multicultural commitment”
The Nobel Prize in Literature 1991
Nadine Gordimer “who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity”
The Nobel Prize in Literature 1990
Octavio Paz “for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity”
The Nobel Prize in Literature 1989
Camilo José Cela “for a rich and intensive prose, which with restrained compassion forms a challenging vision of man’s vulnerability”
The Nobel Prize in Literature 1988
Naguib Mahfouz “who, through works rich in nuance – now clear-sightedly realistic, now evocatively ambiguous – has formed an Arabian narrative art that applies to all mankind”
The Nobel Prize in Literature 1987
Joseph Brodsky “for an all-embracing authorship, imbued with clarity of thought and poetic intensity”
The Nobel Prize in Literature 1986
Wole Soyinka “who in a wide cultural perspective and with poetic overtones fashions the drama of existence”
The Nobel Prize in Literature 1985
Claude Simon “who in his novel combines the poet’s and the painter’s creativeness with a deepened awareness of time in the depiction of the human condition”
The Nobel Prize in Literature 1984
Jaroslav Seifert “for his poetry which endowed with freshness, sensuality and rich inventiveness provides a liberating image of the indomitable spirit and versatility of man”
The Nobel Prize in Literature 1983
William Golding “for his novels which, with the perspicuity of realistic narrative art and the diversity and universality of myth, illuminate the human condition in the world of today”
The Nobel Prize in Literature 1982
Gabriel García Márquez “for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent’s life and conflicts”
The Nobel Prize in Literature 1981
Elias Canetti “for writings marked by a broad outlook, a wealth of ideas and artistic power”
The Nobel Prize in Literature 1980
Czeslaw Milosz who with uncompromising clear-sightedness voices man’s exposed condition in a world of severe conflicts”
The Nobel Prize in Literature 1979
Odysseus Elytis “for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man’s struggle for freedom and creativeness”
The Nobel Prize in Literature 1978
Isaac Bashevis Singer “for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life”
The Nobel Prize in Literature 1977
Vicente Aleixandre “for a creative poetic writing which illuminates man’s condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars”
The Nobel Prize in Literature 1976
Saul Bellow “for the human understanding and subtle analysis of contemporary culture that are combined in his work”
The Nobel Prize in Literature 1975
Eugenio Montale “for his distinctive poetry which, with great artistic sensitivity, has interpreted human values under the sign of an outlook on life with no illusions”
The Nobel Prize in Literature 1974
Eyvind Johnson “for a narrative art, far-seeing in lands and ages, in the service of freedom”
Harry Martinson “for writings that catch the dewdrop and reflect the cosmos”
The Nobel Prize in Literature 1973
Patrick White “for an epic and psychological narrative art which has introduced a new continent into literature”
The Nobel Prize in Literature 1972
Heinrich Böll “for his writing which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature”
The Nobel Prize in Literature 1971
Pablo Neruda “for a poetry that with the action of an elemental force brings alive a continent’s destiny and dreams”
The Nobel Prize in Literature 1970
Aleksandr Isayevich Solzhenitsyn “for the ethical force with which he has pursued the indispensable traditions of Russian literature”
The Nobel Prize in Literature 1969
Samuel Beckett “for his writing, which – in new forms for the novel and drama – in the destitution of modern man acquires its elevation”
The Nobel Prize in Literature 1968
Yasunari Kawabata “for his narrative mastery, which with great sensibility expresses the essence of the Japanese mind”
The Nobel Prize in Literature 1967
Miguel Angel Asturias “for his vivid literary achievement, deep-rooted in the national traits and traditions of Indian peoples of Latin America”
The Nobel Prize in Literature 1966
Shmuel Yosef Agnon “for his profoundly characteristic narrative art with motifs from the life of the Jewish people”
Nelly Sachs“for her outstanding lyrical and dramatic writing, which interprets Israel’s destiny with touching strength”
The Nobel Prize in Literature 1965
Mikhail Aleksandrovich Sholokhov “for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people”
The Nobel Prize in Literature 1964
Jean-Paul Sartre “for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age”
The Nobel Prize in Literature 1963
Giorgos Seferis “for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture”
The Nobel Prize in Literature 1962
John Steinbeck “for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception”
The Nobel Prize in Literature 1961
Ivo Andric “for the epic force with which he has traced themes and depicted human destinies drawn from the history of his country”
The Nobel Prize in Literature 1960
Saint-John Perse “for the soaring flight and the evocative imagery of his poetry which in a visionary fashion reflects the conditions of our time”
The Nobel Prize in Literature 1959
Salvatore Quasimodo “for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times”
The Nobel Prize in Literature 1958
Boris Leonidovich Pasternak “for his important achievement both in contemporary lyrical poetry and in the field of the great Russian epic tradition”
The Nobel Prize in Literature 1957
Albert Camus “for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”
The Nobel Prize in Literature 1956
Juan Ramón Jiménez “for his lyrical poetry, which in Spanish language constitutes an example of high spirit and artistical purity”
The Nobel Prize in Literature 1955
Halldór Kiljan Laxness “for his vivid epic power which has renewed the great narrative art of Iceland”
The Nobel Prize in Literature 1954
Ernest Miller Hemingway “for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style”
The Nobel Prize in Literature 1953
Sir Winston Leonard Spencer Churchill “for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values”
The Nobel Prize in Literature 1952
François Mauriac “for the deep spiritual insight and the artistic intensity with which he has in his novels penetrated the drama of human life”
The Nobel Prize in Literature 1951
Pär Fabian Lagerkvist “for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind”
The Nobel Prize in Literature 1950
Earl (Bertrand Arthur William) Russell “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”
The Nobel Prize in Literature 1949
William Faulkner “for his powerful and artistically unique contribution to the modern American novel”
The Nobel Prize in Literature 1948
Thomas Stearns Eliot “for his outstanding, pioneer contribution to present-day poetry”
The Nobel Prize in Literature 1947
André Paul Guillaume Gide “for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight”
The Nobel Prize in Literature 1946
Hermann Hesse “for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style”
The Nobel Prize in Literature 1945
Gabriela Mistral “for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world”
The Nobel Prize in Literature 1944
Johannes Vilhelm Jensen “for the rare strength and fertility of his poetic imagination with which is combined an intellectual curiosity of wide scope and a bold, freshly creative style”
The Nobel Prize in Literature 1943
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1942
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1941
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1940
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1939
Frans Eemil Sillanpää “for his deep understanding of his country’s peasantry and the exquisite art with which he has portrayed their way of life and their relationship with Nature”
The Nobel Prize in Literature 1938
Pearl Buck “for her rich and truly epic descriptions of peasant life in China and for her biographical masterpieces”
The Nobel Prize in Literature 1937
Roger Martin du Gard “for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault”
The Nobel Prize in Literature 1936
Eugene Gladstone O’Neill “for the power, honesty and deep-felt emotions of his dramatic works, which embody an original concept of tragedy”
The Nobel Prize in Literature 1935
No Nobel Prize was awarded this year. The prize money was with 1/3 allocated to the Main Fund and with 2/3 to the Special Fund of this prize section.
The Nobel Prize in Literature 1934
Luigi Pirandello “for his bold and ingenious revival of dramatic and scenic art”
The Nobel Prize in Literature 1933
Ivan Alekseyevich Bunin “for the strict artistry with which he has carried on the classical Russian traditions in prose writing”
The Nobel Prize in Literature 1932
John Galsworthy “for his distinguished art of narration which takes its highest form in The Forsyte Saga”
The Nobel Prize in Literature 1931
Erik Axel Karlfeldt “The poetry of Erik Axel Karlfeldt”
The Nobel Prize in Literature 1930
Sinclair Lewis “for his vigorous and graphic art of description and his ability to create, with wit and humour, new types of characters”
The Nobel Prize in Literature 1929
Thomas Mann “principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature”
The Nobel Prize in Literature 1928
Sigrid Undset “principally for her powerful descriptions of Northern life during the Middle Ages”
The Nobel Prize in Literature 1927
Henri Bergson “in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented”
The Nobel Prize in Literature 1926
Grazia Deledda “for her idealistically inspired writings which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general”
The Nobel Prize in Literature 1925
George Bernard Shaw “for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty”
The Nobel Prize in Literature 1924
Wladyslaw Stanislaw Reymont “for his great national epic, The Peasants”
The Nobel Prize in Literature 1923
William Butler Yeats “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation”
The Nobel Prize in Literature 1922
Jacinto Benavente “for the happy manner in which he has continued the illustrious traditions of the Spanish drama”
The Nobel Prize in Literature 1921
Anatole France “in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament”
The Nobel Prize in Literature 1920
Knut Pedersen Hamsun “for his monumental work, Growth of the Soil”
The Nobel Prize in Literature 1919
Carl Friedrich Georg Spitteler “in special appreciation of his epic, Olympian Spring”
The Nobel Prize in Literature 1918
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1917
Karl Adolph Gjellerup “for his varied and rich poetry, which is inspired by lofty ideals”
Henrik Pontoppidan “for his authentic descriptions of present-day life in Denmark”
The Nobel Prize in Literature 1916
Carl Gustaf Verner von Heidenstam “in recognition of his significance as the leading representative of a new era in our literature”
The Nobel Prize in Literature 1915
Romain Rolland “as a tribute to the lofty idealism of his literary production and to the sympathy and love of truth with which he has described different types of human beings”
The Nobel Prize in Literature 1914
No Nobel Prize was awarded this year. The prize money was allocated to the Special Fund of this prize section.
The Nobel Prize in Literature 1913
Rabindranath Tagore “because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West”
The Nobel Prize in Literature 1912
Gerhart Johann Robert Hauptmann “primarily in recognition of his fruitful, varied and outstanding production in the realm of dramatic art”
The Nobel Prize in Literature 1911
Count Maurice (Mooris) Polidore Marie Bernhard Maeterlinck “in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers’ own feelings and stimulate their imaginations”
The Nobel Prize in Literature 1910
Paul Johann Ludwig Heyse “as a tribute to the consummate artistry, permeated with idealism, which he has demonstrated during his long productive career as a lyric poet, dramatist, novelist and writer of world-renowned short stories”
The Nobel Prize in Literature 1909
Selma Ottilia Lovisa Lagerlöf “in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings”
The Nobel Prize in Literature 1908
Rudolf Christoph Eucken “in recognition of his earnest search for truth, his penetrating power of thought, his wide range of vision, and the warmth and strength in presentation with which in his numerous works he has vindicated and developed an idealistic philosophy of life”
The Nobel Prize in Literature 1907
Rudyard Kipling “in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author”
The Nobel Prize in Literature 1906
Giosuè Carducci “not only in consideration of his deep learning and critical research, but above all as a tribute to the creative energy, freshness of style, and lyrical force which characterize his poetic masterpieces”
The Nobel Prize in Literature 1905
Henryk Sienkiewicz “because of his outstanding merits as an epic writer”
The Nobel Prize in Literature 1904
Frédéric Mistral “in recognition of the fresh originality and true inspiration of his poetic production, which faithfully reflects the natural scenery and native spirit of his people, and, in addition, his significant work as a Provençal philologist”
José Echegaray y Eizaguirre “in recognition of the numerous and brilliant compositions which, in an individual and original manner, have revived the great traditions of the Spanish drama”
The Nobel Prize in Literature 1903
Bjørnstjerne Martinus Bjørnson “as a tribute to his noble, magnificent and versatile poetry, which has always been distinguished by both the freshness of its inspiration and the rare purity of its spirit”
The Nobel Prize in Literature 1902
Christian Matthias Theodor Mommsen “the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
The Nobel Prize in Literature 1901
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https://www.nobelprize.org/prizes/literature/1979/elytis/lecture/
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Odysseus Elytis – Nobel Lecture
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The Nobel Prize in Literature 1979 was awarded to Odysseus Elytis "for his poetry, which, against the background of Greek tradition, depicts with sensuous strength and intellectual clear-sightedness modern man's struggle for freedom and creativeness"
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NobelPrize.org
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https://www.nobelprize.org/prizes/literature/1979/elytis/lecture/
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Odysseus Elytis
Nobel Lecture
Nobel Lecture, December 8, 1979
(Translation)
May I be permitted, I ask you, to speak in the name of luminosity and transparency. The space I have lived in and where I have been able to fulfill myself is defined by these two states. States that I have also perceived as being identified in me with the need to express myself.
It is good, it is right that a contribution be made to art, from that which is assigned to each individual by his personal experience and the virtues of his language. Even more so, since the times are dismal and we should have the widest possible view of things.
I am not speaking of the common and natural capacity of perceiving objects in all their detail, but of the power of the metaphor to only retain their essence, and to bring them to such a state of purity that their metaphysical significance appears like a revelation.
I am thinking here of the manner in which the sculptors of the Cycladic period used their material, to the point of carrying it beyond itself. I am also thinking of the Byzantine icon painters, who succeeded, only by using pure color, to suggest the “divine”.
It is just such an intervention in the real, both penetrating and metamorphosing, which has always been, it seems to me, the lofty vocation of poetry. Not limiting itself to what is, but stretching itself to what can be. It is true that this step has not always been received with respect. Perhaps the collective neuroses did not permit it. Or perhaps because utilitarianism did not authorize men to keep their eyes open as much as was necessary.
Beauty, Light, it happens that people regard them as obsolete, as insignificant. And yet! The inner step required by the approach of the Angel’s form is, in my opinion, infinitely more painful than the other, which gives birth to Demons of all kinds.
Certainly, there is an enigma. Certainly, there is a mystery. But the mystery is not a stage piece turning to account the play of light and shadow only to impress us.
It is what continues to be a mystery, even in bright light. It is only then that it acquires that refulgence that captivates and which we call Beauty. Beauty that is an open path – the only one perhaps – towards that unknown part of ourselves, towards that which surpasses us. There, this could be yet another definition of poetry: the art of approaching that which surpasses us.
Innumerable secret signs, with which the universe is studded and which constitute so many syllables of an unknown language, urge us to compose words, and with words, phrases whose deciphering puts us at the threshold of the deepest truth.
In the final analysis, where is truth? In the erosion and death we see around us, or in this propensity to believe that the world is indestructible and eternal? I know, it is wise to avoid redundancies. The cosmogonic theories that have succeeded each other through the years have not missed using and abusing them. They have clashed among themselves, they have had their moment of glory, then they have been erased.
But the essential has remained. It remains.
The poetry that raises itself when rationalism has laid down its arms, takes its relieving troops to advance into the forbidden zone, thus proving that it is still the less consumed by erosion. It assures, in the purity of its form, the safeguard of those given facts through which life becomes a viable task. Without it and its vigilance, these given facts would be lost in the obscurity of consciousness, just as algae become indistinct in the ocean depths.
That is why we have a great need of transparency. To clearly perceive the knots of this thread running throughout the centuries and aiding us to remain upright on this earth.
These knots, these ties, we see them distinctly, from Heraclitus to Plato and from Plato to Jesus. Having reached us in various forms they tell us the same thing: that it is in the inside of this world that the other world is contained, that it is with the elements of this world that the other world is recombined, the hereafter, that second reality situated above the one where we live unnaturally. It is a question of a reality to which we have a total right, and only our incapacity makes us unworthy of it.
It is not a coincidence that in healthy times, Beauty is identified with Good, and Good with the Sun. To the extent that consciousness purifies itself and is filled with light, its dark portions retract and disappear, leaving empty spaces – just as in the laws of physics – are filled by the elements of the opposite import. Thus what results of this rests on the two aspects, I mean the “here” and the “hereafter”. Did not Heraclitus speak of a harmony of opposed tensions?
It is of no importance whether it is Apollo or Venus, Christ or the Virgin who incarnate and personalize the need we have to see materialized what we experience as an intuition. What is important is the breath of immortality that penetrates us at that moment. In my humble opinion, Poetry should, beyond all doctrinal argumentation, permit this breath.
Here I must refer to Hölderlin, that great poet who looked at the gods of Olympus and Christ in the same manner. The stability he gave a kind of vision continues to be inestimable. And the extent of what he has revealed for us is immense. I would even say it is terrifying. It is what incites us to cry out – at a time when the pain now submerging us was just beginning – : “What good are poets in a time of poverty”. Wozu Dichter in dürftiger Zeit?
For mankind, times were always dürftig, unfortunately. But poetry has never, on the other hand, missed its vocation. These are two facts that will never cease to accompany our earthly destiny, the first serving as the counter-weight to the other. How could it be otherwise? It is through the Sun that the night and the stars are perceptible to us. Yet let us note, with the ancient sage, that if it passes its bounds the Sun becomes “ “. For life to be possible, we have to keep a correct distance to the allegorical Sun, just as our planet does from the natural Sun. We formerly erred through ignorance. We go wrong today through the extent of our knowledge. In saying this I do not wish to join the long list of censors of our technological civilization. Wisdom as old as the country from which I come has taught me to accept evolution, to digest progress “with its bark and its pits”.
But then, what becomes of Poetry? What does it represent in such a society? This is what I reply: poetry is the only place where the power of numbers proves to be nothing. Your decision this year to honor, in my person, the poetry of a small country, reveals the relationship of harmony linking it to the concept of gratuitous art, the only concept that opposes nowadays the all-powerful position acquired by the quantitative esteem of values.
Referring to personal circumstances would be a breach of good manners. Praising my home, still more unsuitable. Nevertheless it is sometimes indispensable, to the extent that such interferences assist in seeing a certain state of things more clearly. This is the case today.
Dear friends, it has been granted to me to write in a language that is spoken only by a few million people. But a language spoken without interruption, with very few differences, throughout more than two thousand five hundred years. This apparently surprising spatial-temporal distance is found in the cultural dimensions of my country. Its spatial area is one of the smallest; but its temporal extension is infinite. If I remind you of this, it is certainly not to derive some kind of pride from it, but to show the difficulties a poet faces when he must make use, to name the things dearest to him, of the same words as did Sappho, for example, or Pindar, while being deprived of the audience they had and which then extended to all of human civilization.
If language were not such a simple means of communication there would not be any problem. But it happens, at times, that it is also an instrument of “magic”. In addition, in the course of centuries, language acquires a certain way of being. It becomes a lofty speech. And this way of being entails obligations.
Let us not forget either that in each of these twenty-five centuries and without any interruption, poetry has been written in Greek. It is this collection of given facts which makes the great weight of tradition that this instrument lifts. Modern Greek poetry gives an expressive image of this.
The sphere formed by this poetry shows, one could say, two poles: at one of these poles is Dionysios Solomos, who, before Mallarmé appeared in European literature, managed to formulate, with the greatest rigor and coherency, the concept of pure poetry: to submit sentiment to intelligence, ennoble expression, mobilize all the possibilities of the linguistic instrument by orienting oneself to the miracle. At the other pole is Cavafy, who like T. S. Eliot reaches, by eliminating all form of turgidity, the extreme limit of concision and the most rigorously exact expression.
Between these two poles, and more or less close to one or the other, our other great poets move: Kostis Palamas, Angelos Sikelianos, Nikos Kazantzakis, George Seferis.
Such is, rapidly and schematically drawn, the picture of neo-Hellenic poetic discourse.
We who have followed have had to take over the lofty precept which has been bequeathed to us and adapt it to contemporary sensibility. Beyond the limits of technique, we have had to reach a synthesis, which, on the one hand, assimilated the elements of Greek tradition and, on the other, the social and psychological requirements of our time.
In other words, we had to grasp today’s European-Greek in all its truth and turn that truth to account. I do not speak of successes, I speak of intentions, efforts. Orientations have their significance in the investigation of literary history.
But how can creation develop freely in these directions when the conditions of life, in our time, annihilate the creator? And how can a cultural community be created when the diversity of languages raises an unsurpassable obstacle? We know you and you know us through the 20 or 30 per cent that remains of a work after translation. This holds even more true for all those of us who, prolonging the furrow traced by Solomos, expect a miracle from discourse and that a spark flies from between two words with the right sound and in the right position.
No. We remain mute, incommunicable.
We are suffering from the absence of a common language. And the consequences of this absence can be seen – I do not believe I am exaggerating – even in the political and social reality of our common homeland, Europe.
We say – and make the observation each day – that we live in a moral chaos. And this at a moment when – as never before – the allocation of that which concerns our material existence is done in the most systematic manner, in an almost military order, with implacable controls. This contradiction is significant. Of two parts of the body, when one is hypertrophic, the other atrophies. A praise-worthy tendency, encouraging the peoples of Europe to unite, is confronted today with the impossibility of harmonization of the atrophied and hypertrophic parts of our civilization. Our values do not constitute a common language.
For the poet – this may appear paradoxical but it is true – the only common language he still can use is his sensations. The manner in which two bodies are attracted to each other and unite has not changed for millennia. In addition, it has not given rise to any conflict, contrary to the scores of ideologies that have bloodied our societies and have left us with empty hands.
When I speak of sensations, I do not mean those, immediately perceptible, on the first or second level. I mean those which carry us to the extreme edge of ourselves. I also mean the “analogies of sensations” that are formed in our spirits.
For all art speaks through analogy. A line, straight or curved, a sound, sharp or low-pitched, translate a certain optical or acoustic contact. We all write good or bad poems to the extent that we live or reason according to the good or bad meaning of the term. An image of the sea, as we find it in Homer, comes to us intact. Rimbaud will say “a sea mixed with sun”. Except he will add: “that is eternity.” A young girl holding a myrtle branch in Archilochus survives in a painting by Matisse. And thus the Mediterranean idea of purity is made more tangible to us. In any case, is the image of a virgin in Byzantine iconography so different from that of her secular sisters? Very little is needed for the light of this world to be transformed into supernatural clarity, and inversely. One sensation inherited from the Ancients and another bequeathed by the Middle Ages give birth to a third, one that resembles them both, as a child does its parents. Can poetry survive such a path? Can sensations, at the end of this incessant purification process, reach a state of sanctity? They will return then, as analogies, to graft themselves on the material world and to act on it.
It is not enough to put our dreams into verse. It is too little. It is not enough to politicize our speech. It is too much. The material world is really only an accumulation of materials. It is for us to show ourselves to be good or bad architects, to build Paradise or Hell. This is what poetry never ceases affirming to us – and particularly in these dürftiger times – just this: that in spite of everything our destiny lies in our hands.
I have often tried to speak of solar metaphysics. I will not try today to analyse how art is implicated in such a conception. I will keep to one single and simple fact: the language of the Greeks, like a magic instrument, has – as a reality or a symbol – intimate relations with the Sun. And that Sun does not only inspire a certain attitude of life, and hence the primeval sense to the poem. It penetrates the composition, the structure, and – to use a current terminology – the nucleus from which is composed the cell we call the poem.
It would be a mistake to believe that it is a question of a return to the notion of pure form. The sense of form, as the West has bequeathed it to us, is a constant attainment, represented by three or four models. Three or four moulds, one could say, where it was suitable to pour the most anomalous material at any price. Today that is no longer conceivable. I was one of the first in Greece to break those ties.
What interested me, obscurely at the beginning, then more and more consciously, was the edification of that material according to an architectural model that varied each time. To understand this there is no need to refer to the wisdom of the Ancients who conceived the Parthenons. It is enough to evoke the humble builders of our houses and of our chapels in the Cyclades, finding on each occasion the best solution. Their solutions. Practical and beautiful at the same time, so that in seeing them Le Corbusier could only admire and bow.
Perhaps it is this instinct that woke in me when, for the first time, I had to face a great composition like “Axion Esti.” I understood then that without giving the work the proportions and perspective of an edifice, it would never reach the solidity I wished.
I followed the example of Pindar or of the Byzantine Romanos Melodos who, in each of their odes or canticles, invented a new mode for each occasion. I saw that the determined repetition, at intervals, of certain elements of versification effectively gave to my work that multifaceted and symmetrical substance which was my plan.
But then is it not true that the poem, thus surrounded by elements that gravitate around it, is transformed into a little Sun? This perfect correspondence, which I thus find obtained with the intended contents, is, I believe, the poet’s most lofty ideal.
To hold the Sun in one’s hands without being burned, to transmit it like a torch to those following, is a painful act but, I believe, a blessed one. We have need of it. One day the dogmas that hold men in chains will be dissolved before a consciousness so inundated with light that it will be one with the Sun, and it will arrive on those ideal shores of human dignity and liberty.
From Nobel Lectures, Literature 1968-1980, Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1993
Copyright © The Nobel Foundation 1979
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https://kids.kiddle.co/Giorgos_Seferis
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Giorgos Seferis facts for kids
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Learn Giorgos Seferis facts for kids
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https://kids.kiddle.co/Giorgos_Seferis
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Giorgos or George Seferis (; Greek: Γιώργος Σεφέρης [ˈʝorɣos seˈferis]), the pen name of Georgios Seferiades (Γεώργιος Σεφεριάδης; March 13 [O.S. February 29] 1900 – September 20, 1971), was a Greek poet and diplomat. He was one of the most important Greek poets of the 20th century, and a Nobel laureate. He was a career diplomat in the Greek Foreign Service, culminating in his appointment as Ambassador to the UK, a post which he held from 1957 to 1962.
Biography
Seferis was born in Vourla near Smyrna in Asia Minor, in the Aidin Vilayet of the Ottoman Empire (now İzmir, Turkey). His father, Stelios Seferiadis, was a lawyer, and later a professor at the University of Athens, as well as a poet and translator in his own right. He was also a staunch Venizelist and a supporter of the demotic Greek language over the formal, official language (katharevousa). Both of these attitudes influenced his son. In 1914 the family moved to Athens, where Seferis completed his secondary school education. He continued his studies in Paris from 1918 to 1925, studying law at the Sorbonne. While he was there, in September 1922, Smyrna/Izmir was taken by the Turkish Army after a two-year Greek military campaign on Anatolian soil. Many Greeks, including Seferis's family, fled from Asia Minor. Seferis would not visit Smyrna again until 1950; the sense of being an exile from his childhood home would inform much of Seferis's poetry, showing itself particularly in his interest in the story of Odysseus. Seferis was also greatly influenced by Kavafis, T. S. Eliot and Ezra Pound.
He returned to Athens in 1925 and was admitted to the Royal Greek Ministry of Foreign Affairs in the following year. This was the beginning of a long and successful diplomatic career, during which he held posts in England (1931–1934) and Albania (1936–1938). He married Maria Zannou ('Maro') on April 10, 1941 on the eve of the German invasion of Greece. During the Second World War, Seferis accompanied the Free Greek Government in exile to Crete, Egypt, South Africa, and Italy, and returned to liberated Athens in 1944. He continued to serve in the Ministry of Foreign Affairs and held diplomatic posts in Ankara, Turkey (1948–1950) and London (1951–1953). He was appointed minister to Lebanon, Syria, Jordan, and Iraq (1953–1956), and was Royal Greek Ambassador to the United Kingdom from 1957 to 1961, the last post before his retirement in Athens. Seferis received many honours and prizes, among them honorary doctoral degrees from the universities of Cambridge (1960), Oxford (1964), Thessaloniki (1964), and Princeton (1965).
Cyprus
Seferis first visited Cyprus in November 1953. He immediately fell in love with the island, partly because of its resemblance, in its landscape, the mixture of populations, and in its traditions, to his childhood summer home in Skala (Urla). His book of poems Imerologio Katastromatos III was inspired by the island, and mostly written there–bringing to an end a period of six or seven years in which Seferis had not produced any poetry. Its original title Cyprus, where it was ordained for me… (a quotation from Euripides’ Helen in which Teucer states that Apollo has decreed that Cyprus shall be his home) made clear the optimistic sense of homecoming Seferis felt on discovering the island. Seferis changed the title in the 1959 edition of his poems.
Politically, Cyprus was entangled in the dispute between the UK, Greece and Turkey over its international status. Over the next few years, Seferis made use of his position in the diplomatic service to strive towards a resolution of the Cyprus dispute, investing a great deal of personal effort and emotion. This was one of the few areas in his life in which he allowed the personal and the political to mix. Seferis described his political principles as "liberal and democratic [or republican]."
The Nobel Prize
Main article: 1963 Nobel Prize in Literature
In 1963, Seferis was awarded the Nobel Prize for Literature "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture." Seferis was the first Greek to receive the prize (followed later by Odysseas Elytis, who became a Nobel laureate in 1979). But in his acceptance speech, Seferis chose rather to emphasise his own humanist philosophy, concluding: "When on his way to Thebes Oedipus encountered the Sphinx, his answer to its riddle was: 'Man'. That simple word destroyed the monster. We have many monsters to destroy. Let us think of the answer of Oedipus." While Seferis has sometimes been considered a nationalist poet, his 'Hellenism' had more to do with his identifying a unifying strand of humanism in the continuity of Greek culture and literature. The other five finalists for the prize that year were W. H. Auden, Pablo Neruda (1971 winner), Samuel Beckett (1969 winner), Yukio Mishima and Aksel Sandemose.
Later life
In 1967 the repressive nationalist, right-wing Regime of the Colonels took power in Greece after a coup d'état. After two years marked by widespread censorship, political detentions and torture, Seferis took a stand against the regime. On March 28, 1969, he made a statement on the BBC World Service, with copies simultaneously distributed to every newspaper in Athens. In authoritative and absolute terms, he stated "This anomaly must end".
Seferis did not live to see the end of the junta in 1974 as a direct result of Turkey’s invasion of Cyprus, which had itself been prompted by the junta’s attempt to overthrow Cyprus's president, Archbishop Makarios. He died in Athens, on September 20, 1971. The cause of death was reported to be pneumonia, aggravated by a stroke he had suffered after undergoing surgery for a bleeding ulcer about two months earlier.
At his funeral, huge crowds followed his coffin through the streets of Athens, singing Mikis Theodorakis’ setting of Seferis's poem 'Denial' (then banned); he had become a popular hero for his resistance to the regime. He is buried at First Cemetery of Athens.
Legacy
His house at Pangrati district of central Athens, just next to the Panathinaiko Stadium of Athens, still stands today at Agras Street.
There are commemorative blue plaques on two of his London homes – 51 Upper Brook Street, and at 7 Sloane Avenue.
In 1999, there was a dispute over the naming of a street in İzmir Yorgos Seferis Sokagi due to continuing ill-feeling over the Greco-Turkish War in the early 1920s.
In 2004, the band Sigmatropic released "16 Haiku & Other Stories," an album dedicated to and lyrically derived from Seferis's work. Vocalists included recording artists Laetitia Sadier, Alejandro Escovedo, Cat Power, and Robert Wyatt. Seferis's famous stanza from Mythistorema was featured in the Opening Ceremony of the 2004 Athens Olympic Games:
I woke with this marble head in my hands;
It exhausts my elbows and I don't know where to put it down.
It was falling into the dream as I was coming out of the dream.
So our life became one and it will be very difficult for it to separate again.
Stephen King quotes several of Seferis's poems as epigraphs in his 1975 novel Salem's Lot.
The composer Richard Causton wrote a piece for solo flute, Sleep, which is inspired by Mythistorema.
Works
Poetry
Strophe, 1931 (Στροφή)
The Cistern, 1932 (Στέρνα)
Mythical narrative, 1935 (Μυθιστόρημα)
Book of Exercises, 1940 (Τετράδιο Γυμνασμάτων)
Log Book I, 1940 (Ημερολόγιο Καταστρώματος Ι)
Log Book II, 1944 (Ημερολόγιο Καταστρώματος ΙΙ)
The Thrush, 1947 (Κίχλη)
Log Book III, 1955 (Ημερολόγιο Καταστρώματος ΙΙΙ)
Three Secret Poems, 1966 (Τρία Κρυφά Ποιήματα)
Book of Exercises ΙΙ, 1976 (Τετράδιο Γυμνασμάτων II)
Prose
Essays (Δοκιμές) 3 vols. (vols 1–2, 3rd ed. (ed. G.P. Savidis) 1974, vol 3 (ed. Dimitri Daskalopoulos) 1992)
Translations (Αντιγραφές) (1965)
Days–diaries (Μέρες) (9 vols., published posthumously, 1975–2019)
Six Nights on the Acropolis (Έξι νύχτες στην Ακρόπολη) (published posthumously, 1974)
Varnavas Kalostefanos (Βαρνάβας Καλοστέφανος) (published posthumously, 2007)
English translations
George Seferis’s ‘On a Winter Ray’ Cordite Poetry Review [Greek and English texts]
Three Secret Poems, trans. Walter Kaiser (1969). Cambridge, MA: Harvard University Press [Greek and English texts]
Complete Poems trans. Edmund Keeley and Philip Sherrard. (1995) London: Anvil Press Poetry. ISBN [English only]
Collected Poems, trans. E. Keeley, P. Sherrard (1981) [Greek and English texts]
A Poet's Journal: Days of 1945–1951 trans. Athan Anagnostopoulos. (1975) London: Harvard University Press. ISBN
On the Greek Style: Selected Essays on Poetry and Hellenism trans. Rex Warner and Th.D. Frangopoulos. (1966) London: Bodley Head, reprinted (1982, 1992, 2000) Limni (Greece): Denise Harvey (Publisher), ISBN: 960-7120-03-5
Poems trans. Rex Warner. (1960) London: Bodley Head; Boston and Toronto: Little, Brown and Company.
Collected Poems trans. Manolis (Emmanuel Aligizakis). (2012) Surrey: Libros Libertad. ISBN: 978-1926763-23-1
Six Nights on the Acropolis, trans. by Susan Matthias (2007).
Correspondence
This Dialectic of Blood and Light, George Seferis - Philip Sherrard, An Exchange: 1946-1971, 2015 Limni (Greece): Denise Harvey (Publisher) ISBN: 978-960-7120-37-3
Reviews
Black, David, (1983), review of Collected Poems edited by Edmund Keeley and Phillip Sherrard, in Hearn, Sheila G. (ed.), Cencrastus No. 12, Spring 1983, pp. 47 & 48, ISSN 0264-0856
See also
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Facts on the Nobel Prize in Literature
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On 27 November 1895, Alfred Nobel signed his last will and testament, giving the largest share of his fortune to a series of prizes, the Nobel Prizes. As described in Nobel’s will one part was dedicated to “the person who shall have produced in the field of literature the most outstanding work in an ideal direction”. Learn more about the Nobel Prize in Literature from 1901 to 2023.
Number of Nobel Prizes in Literature
116 Nobel Prizes in Literature have been awarded since 1901. It was not awarded on seven occasions: in 1914, 1918, 1935, 1940, 1941, 1942, and 1943.
Why were the literature prizes not awarded in those years? In the statutes of the Nobel Foundation it says: “If none of the works under consideration is found to be of the importance indicated in the first paragraph, the prize money shall be reserved until the following year. If, even then, the prize cannot be awarded, the amount shall be added to the Foundation’s restricted funds.” During World War I and II, fewer Nobel Prizes were awarded.
Shared Nobel Prizes in Literature
The Nobel Prize in Literature has been shared between two individuals on four occasions only. Sharing the Nobel Prize is a more common phenomenon within the other Nobel Prize categories.
1904 – Frédéric Mistral, José Echegaray
1917 – Karl Gjellerup, Henrik Pontoppidan
1966 – Shmuel Agnon, Nelly Sachs
1974 – Eyvind Johnson, Harry Martinson
Why is the literature prize so seldom divided? The last time was in 1974.
It probably belongs to the nature of literature. The science prizes are often awarded jointly, as the achievement is jointly, or for doing things that are very close to each other.
(Answer from Peter Englund, Permanent Secretary of the Swedish Academy, June 2009-May 2015)
Read more on the subject shared literature prizes:
The Nobel Prize in Literature: Nominations and Reports 1901–1950
Number of Nobel Prize laureates in literature
120 individuals have been awarded the Nobel Prize in Literature 1901-2023.
List of all literature laureates
Youngest literature laureate
To date, the youngest literature laureate is Rudyard Kipling, best known for The Jungle Book, who was 41 years old when he was awarded the literature prize in 1907.
Oldest literature laureate
The oldest Nobel Prize laureate in literature to date is Doris Lessing, who was 88 years old when she was awarded the Prize in 2007.
Female Nobel Prize laureates in literature
17 women have been awarded the Nobel Prize in Literature. Swedish author Selma Lagerlöf (1858-1940) was the first woman to be awarded in 1909. Selma Lagerlöf was awarded five years before she was elected to the Swedish Academy, the Nobel Prize awarding institution responsible for selecting Nobel Prize laureates in literature.
1909 – Selma Lagerlöf
1926 – Grazia Deledda
1928 – Sigrid Undset
1938 – Pearl Buck
1945 – Gabriela Mistral
1966 – Nelly Sachs
1991 – Nadine Gordimer
1993 – Toni Morrison
1996 – Wislawa Szymborska
2004 – Elfriede Jelinek
2007 – Doris Lessing
2009 – Herta Müller
2013 – Alice Munro
2015 – Svetlana Alexievich
2018 – Olga Tokarczuk
2020 – Louise Glück
2022 – Annie Ernaux
List of all female Nobel Prize laureates
Two people have declined the Nobel Prize in Literature
Boris Pasternak, the 1958 Nobel Prize in Literature, “Accepted first, later caused by the authorities of his country (Soviet Union) to decline the Prize”.
Jean Paul Sartre, the 1964 Nobel Prize in Literature, declined the prize because he had consistently declined all official honours.
Multiple Nobel Prize laureates in literature
No one has been awarded the Nobel Prize in Literature more than once.
Multiple Nobel Prize laureates in other Nobel Prize categories
Posthumous Nobel Prizes in Literature
In 1931, the Nobel Prize in Literature was awarded posthumously to Erik Axel Karlfeldt. From 1974, the Statutes of the Nobel Foundation stipulate that a Nobel Prize cannot be awarded posthumously, unless death has occurred after the announcement of the Nobel Prize. Dag Hammarskjöld was also awarded a posthumous prize, the Nobel Peace Prize in 1961.
Awarded members of the Swedish Academy
One particular problem faced during the nomination and selection process for the Nobel Prize in Literature is how to deal with candidates who are members of the Swedish Academy, the Nobel Prize awarding institution responsible for selecting Nobel Prize laureates in literature. All Swedish Nobel Prize laureates in literature before 2011, when Tomas Tranströmer was awarded, were members of the Swedish Academy. In virtually every case it appears that they have declined nomination and a routine has been established, were they are not subjected to the appraisal of either an expert or the Nobel Committee for Literature.
Read more about the process of nomination and selection of literature laureates
Selma Lagerlöf became a member of the Swedish Academy in 1914 after she was awarded the 1909 Nobel Prize in Literature
Verner von Heidenstam (1916 Nobel Prize in Literature), was a member of the Swedish Academy 1912-1940.
Erik Axel Karlfeldt (1931 Nobel Prize in Literature), was a member of the Swedish Academy 1904-1931. Karlfeldt was awarded posthumously.
Pär Lagerkvist (1951 Nobel Prize in Literature), was a member of the Swedish Academy 1940-1974.
Harry Martinson and Eyvind Johnson (1974 Nobel Prize in Literature), were members of the Swedish Academy – Martinson 1949-1978 and Johnson 1957-1976.
Literature laureates with pen-names
Sully Prudhomme (pen-name of René François Armand Prudhomme), Anatole France (pen-name of Jacques Anatole Thibault), Wladyslaw Reymont (pen-name of Rejment), Grazia Deledda (pen-name of Grazia Madesani, née Deledda), Pearl Buck (pen-name of Pearl Walsh, née Sydenstricker), Gabriela Mistral (pen-name of Lucila Godoy y Alcayaga), Saint-John Perse (pen-name of Alexis Léger), Giorgos Seferis (pen-name of Giorgos Seferiadis), Pablo Neruda (pen-name of Neftalí Ricardo Reyes Basoalto), Odysseus Elytis (pen-name of Odysseus Alepoudhelis), Mo Yan (pen-name of Guan Moye)
Surprise literature laureate?
Many believe that Winston Churchill was awarded the Nobel Peace Prize, but he was actually awarded the 1953 Nobel Prize in Literature. Between 1945 and 1953, Winston Churchill got 21 nominations for the literature prize and two for the Nobel Peace Prize.
Explore the nomination database for the Nobel Prizes
Awarded for a particular literary work
While the Nobel Prize in Literature is for a writer’s life work, there are nine literature laureates for whom the Swedish Academy singled out a specific work for particular recognition.
Mikhail Sholokhov in 1965
“for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people” Ernest Hemingway in 1954
“for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style” Roger Martin Du Gard in 1937
“for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault” John Galsworthy in 1932
“for his distinguished art of narration which takes its highest form in The Forsyte Saga” Thomas Mann in 1929
“principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature” Wladyslaw Reymont in 1924
“for his great national epic, The Peasants” Knut Hamsun in 1920
“for his monumental work, Growth of the Soil” Carl Spitteler in 1919
“in special appreciation of his epic, Olympian Spring” Theodor Mommsen in 1902
“the greatest living master of the art of historical writing, with special reference to his monumental work, A history of Rome”
Nominations – a well kept secret
The nominations and the opinions written by the members of the Nobel Committee in Literature each year are kept secret for 50 years.
Sully Prudhomme, Rudolf Eucken, Paul Heyse, Rabindranath Tagore, Sinclair Lewis, Theodor Mommsen, Luigi Pirandello, Pearl Buck, Bertrand Russell and William Faulkner are some of the authors who were awarded the Nobel Prize in Literature after being nominated in one year only.
Number of nominations for the Nobel Prize in Literature each year (1901-1950)
Searchable nomination database (1901-1965)
Who did the Nobel Prize laureates in literature nominate?
The Swedish author August Strindberg (1849-1912) was nominated once in 1911 by Nathan Söderblom (but the nomination arrived too late and was retrieved).
The Austrian neurologist and founder of psychoanalysis Sigmund Freud (1856-1939) was nominated for 12 years for the Nobel Prize in Physiology or Medicine. In 1929, the Nobel Committee for Medicine engaged an expert who came to the conclusion that a further investigation in Freud was not necessary, since Freud’s work was of no proven scientific value. What is less known, perhaps, is that Romain Rolland, Nobel Prize laureate in literature 1915, and an acquaintance of Freud, nominated him for the Nobel Prize in Literature in 1936.
List of nominations made by Nobel Prize laureates in literature
The Nobel Prize medal in literature
The Nobel medal in literature was designed by Swedish sculptor and engraver Erik Lindberg and represents a young man sitting under a laurel tree who, enchanted, listens to and writes down the song of the Muse.
Read more about the Nobel Prize medal in literature
The Nobel Prize diplomas
Each Nobel Prize diploma is a unique work of art, created by foremost Swedish and Norwegian artists and calligraphers.
More about the Nobel Prize diplomas
The Nobel Prize amount
Alfred Nobel left most of his estate, more than SEK 31 million (today approximately SEK 1,702 million) to be converted into a fund and invested in “safe securities.” The income from the investments was to be “distributed annually in the form of prizes to those who during the preceding year have conferred the greatest benefit to humankind.”
The Nobel Prize amount for 2023 was set at Swedish kronor (SEK) 11.0 million per full Nobel Prize.
More about the Nobel Prize amount
*Why are the individuals and organisations awarded a Nobel Prize called Nobel Prize laureates?
The word “laureate” refers to being signified by the laurel wreath. In Greek mythology, the god Apollo is represented wearing a laurel wreath on his head. A laurel wreath is a circular crown made of branches and leaves of the bay laurel (in Latin: Laurus nobilis). In Ancient Greece, laurel wreaths were awarded to victors as a sign of honour – both in athletic competitions and in poetic meets.
Links to more facts on the Nobel Prizes:
Facts on the Nobel Prize in Physics
Facts on the Nobel Prize in Chemistry
Facts on the Nobel Prize in Physiology or Medicine
Facts on the Nobel Prize in Literature
Facts on the Nobel Peace Prize
Facts on the Prize in Economic Sciences
Facts on all Nobel Prizes
First published 5 October 2009.
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Odysseas Elytis was a Greek poet, man of letters, essayist and translator, regarded as the definitive exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century, with his Axion Esti "regarded as a monument of contemporary poetry". In 1979, he was awarded the Nobel Prize in Literature.
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Odysseas Elytis (Greek: Οδυσσέας Ελύτης [oðiˈseas eˈlitis], pen name of Odysseas Alepoudellis, Greek: Οδυσσέας Αλεπουδέλλης; 2 November 1911 – 18 March 1996) was a Greek poet, man of letters, essayist and translator, regarded as the definitive exponent of romantic modernism in Greece and the world. He is one of the most praised poets of the second half of the twentieth century,[3] with his Axion Esti "regarded as a monument of contemporary poetry".[4] In 1979, he was awarded the Nobel Prize in Literature.[5]
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Odysseas Elytis (Greek: Οδυσσέας Ελύτης) (November 2, 1911 – March 18, 1996) was a Greek poet, considered as one of the most important representatives of modernism in Greece. Modernism, as a tendency, emerged in mid-nineteenth century Western Europe. It is rooted in the idea that the "traditional" forms of art, literature, religious faith, social organization, and daily life had become outdated—therefore it was essential to sweep them aside. In this it drew on previous revolutionary movements, including liberalism and communism.
Modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the goal of finding that which was "holding back" progress, and replacing it with new, and therefore better, ways of reaching the same end. In essence, the modernist movement argued that the new realities of the industrial and mechanized age were permanent and imminent, and that people should adapt their world view to accept that what was new was also good and pretty. In 1979 he was awarded the Nobel Prize in Literature.
Biography
Descendant of an old family of Lesbos, he was born in Heraklion (Candia) on the island of Crete, November 2, 1911. His family was later relocated to Athens permanently, where the poet completed his high school studies and later attended courses as a listener at the Law School at Athens University. The son of a prosperous businessman, he would write under the nom de plume of Elytis to distance himself from the family business. His original family name was Alepoudelis. In 1935, Elytis published his first poem in the journal New Letters (Νέα Γράμματα). His entry inaugurated a new era in Greek poetry and its subsequent reform after the Second World War.
The war
In 1937 he served his military requirements. Selected as an army cadet, he joined the National Military School in Corfu. During the war he was appointed Second Lieutenant, placed initially in the First Army Corps Headquarters, he was later transferred to the Twenty-forth Regiment, on the first-line of the battlefields. Elytis continuously published poetry anthologies and essays on contemporary poetry and art during the years of the German Occupation.
Programme director for ERT
Elytis was twice named Programme Director of the Elliniki Radiophonia Tileorasi (Greek National Radio Foundation) (1945-1946 and 1953-1954), Member of the Greek National Theater's Administrative Council, President of the Administrative Council of the Elliniki Radiophonia Tileorasi (Greek Radio and Television) as well as Member of the Consultative Committee of the Greek National Tourist's Organization on the Athens Festival. In 1960 he was awarded the First State Poetry Prize, in 1965 the Order of the Phoenix, and in 1975 he was awarded the Doctor Honoris Causa in the Faculty of Philosophy at the Thessaloniki University and received the Honorary Citizenship of the Town of Mytilene.
Travels
During the years 1948-1952 and 1969-1972 he settled in Paris. There, he audited philology and literature seminars at the Sorbonne and was well received by the pioneers of the world's avant-garde movement, including Reverdy, Breton, Tzara, Ungaretti, Matisse, Picasso, Chagall, Giacometti, as Teriade's most respected friend. Teriade was simultaneously in Paris publishing works with all the renowed artists and philosophers of the time—Kostas Axelos, Jean Paul Sartre, Rene Daumal. Elytis and Teriade had formed a strong friendship that solidified in 1939 with the publication of Elytis first book of poetry entitled "Orientations." Both Elytis and Teriade hailed from Lesbos and had a mutual love of the Greek painter Theophilos. Starting from Paris he travelled and subsequently visited Switzerland, England, Italy and Spain. In 1948 he was the representative of Greece at the International Meetings of Geneva, in 1949 at the Founding Congress of the International Art Critics Union in Paris and in 1962 at the Incontro Romano della Cultura in Rome.
In 1961, upon an invitation of the State Department, he traveled through the U.S.A.; he received similar invitations from the Soviet Union in 1963 and Bulgaria in 1965.
Death
Odysseas Elytis died on March 18, 1996.
The Poetry of Elytis
Elytis' poetry spanned a period of over forty years, covering a broad spectrum of trends. His early work was clearly influenced by the development of Surrealism, especially admiring Paul Eluard. During the war, his poem "Heroic and Elegiac Song for the Lost Second Lieutenant of the Albanian Campaign" was an important rallying cry for Greek patriots. After the war, he remained silent for a decade and a half. Unlike other contemporaries, he did not return to Ancient Greece or Byzantium for his poetic inspiration, but devoted himself exclusively to more modern Hellenistic concerns. Rather than return to the mythology of the past, he attempted to endow contemporary institutions with a new mythology, one which would rid his people's conscience of past remorse, to complement life's natural elements through human ethical powers, to achieve the highest possible transparency in expression and finally, to succeed in approaching the mystery of light, the metaphysics of the sun of which he was a self-confessed idolater. This new mythology, or inner architecture, is clearly perceptible in a great many works of his—mainly in the Worthy It Is (Το Άξιον Εστί). This work was set to music by Mikis Theodorakis, and was widely spread among all Greeks, growing into a kind of the people's new "gospel." Elytis' theoretical and philosophical ideas have been expressed in a series of essays under the title 'The Open Papers (Ανοιχτά Χαρτιά). In addition he applied himself to translating poetry and drama as well as creating a series of collage pictures. Translations of his poetry have been published as autonomous books, in anthologies or in periodicals in eleven languages.
Works
Poetry
Orientations (Προσανατολισμοί, 1940)
Sun The First (Ηλιος ο πρώτος, παραλλαγές πάνω σε μιαν αχτίδα, 1943)
An Heroic And Funeral Chant For The Lieutenant Lost In Albania (Άσμα ηρωικό και πένθιμο για τον χαμένο ανθυπολοχαγό της Αλβανίας, 1946)
To Axion Esti—It Is Worthy (Το Άξιον Εστί, 1959)
Six Plus One Remorses For The Sky (Έξη και μια τύψεις για τον ουρανό, 1960)
The Light Tree And The Fourteenth Beauty (Το φωτόδεντρο και η δέκατη τέταρτη ομορφιά, 1972)
The Sovereign Sun (Ο ήλιος ο ηλιάτορας, 1971)
The Trills Of Love (Τα Ρω του Έρωτα, 1973)
The Monogram (Το Μονόγραμμα, 1972)
Step-Poems (Τα Ετεροθαλή, 1974)
Signalbook (Σηματολόγιον, 1977)
Maria Nefeli (Μαρία Νεφέλη, 1978)
Three Poems under a Flag of Convenience (Τρία ποιήματα με σημαία ευκαιρίας 1982)
Diary of an Invisible April (Ημερολόγιο ενός αθέατου Απριλίου, 1984)
Krinagoras (Κριναγόρας, 1987)
The Little Mariner (Ο Μικρός Ναυτίλος, 1988)
The Elegies of Oxopetras (Τα Ελεγεία της Οξώπετρας, 1991)
West of Sadness (Δυτικά της λύπης, 1995)
Prose, essays
The True Face and Lyrical Bravery of Andreas Kalvos (Η Αληθινή φυσιογνωμία και η λυρική τόλμη του Ανδρέα Κάλβου, 1942)
2x7 e (collection of small essays) (2χ7 ε (συλλογή μικρών δοκιμίων))
(Offering) My Cards To Sight (Ανοιχτά χαρτιά (συλλογή κειμένων), 1973)
The Painter Theophilos (Ο ζωγράφος Θεόφιλος, 1973)
The Magic Of Papadiamantis (Η μαγεία του Παπαδιαμάντη, 1975)
Reference to Andreas Empeirikos (Αναφορά στον Ανδρέα Εμπειρίκο, 1977)
The Public ones and the Private ones (Τα Δημόσια και τα Ιδιωτικά, 1990)
Private Way (Ιδιωτική Οδός, 1990)
«Εν λευκώ» (συλλογή κειμένων), (1992)
The Garden with the Illusions (Ο κήπος με τις αυταπάτες, 1995)
Translations
Second Writing (Δεύτερη γραφή, 1976)
Sapho (Σαπφώ)
The Apocalypse (by John) (Η αποκάλυψη, 1985)
Translations of Elytis' work
Poesie. Procedute dal Canto eroico e funebre per il sottotenente caduto in Albania. Trad. Mario Vitti (Roma. Il Presente. 1952)
21 Poesie. Trad. Vicenzo Rotolo (Palermo. Istituto Siciliano di Studi Bizantini e Neoellenici. 1968)
Poèmes. Trad. Robert Levesque (1945)
Six plus un remords pourle ciel. Trad. F. B. Mache (Fata Morgana. Montpellier 1977)
Korper des Sommers. Übers. Barbara Schlörb (St. Gallen 1960)
Sieben nächtliche Siebenzeiler. Übers. Günter Dietz (Darmstadt 1966)
To Axion Esti - Gepriesen sei. Übers. Güinter Dietz (Hamburg 1969)
The Axion Esti. Trans. Edmund Keeley and G. Savidis (Pittsburgh, U.S.A. 1974)
The Sovereign Sun. Trans. Kinom Friar (Philadelphia, U.S.A. 1974)
Selected poems. Ed. E. Keeley and Ph. Sherrard (1981)
Reference works
Mario Vitti: Odysseus Elytis. Literature 1935-1971 (Icaros 1977)
Tasos Lignadis: Elytis' Axion Esti (1972)
Lili Zografos: Elytis - The Sun Drinker (1972); as well as the special issue of the American magazine Books Abroad dedicated to the work of Elytis (Autumn 1975. Norman, Oklahoma, U.S.A.)
Odysseas Elytis: Anthologies of Light. Ed. I. Ivask (1981)
A. Decavalles: Maria Nefeli and the Changeful Sameness of Elytis' Variations on a theme (1982)
E. Keeley: Elytis and the Greek Tradition (1983)
Ph. Sherrard: Odysseus Elytis and the Discovery of Greece, in Journal of Modern Greek Studies, 1(2), 1983
K. Malkoff: Eliot and Elytis: Poet of Time, Poet of Space, in Comparative Literature, 36(3), 1984
A. Decavalles: Odysseus Elytis in the 1980s, in World Literature Today, 62(l), 1988
All links retrieved November 17, 2022.
Official site of Nobel Prize
Recitations of poems by Elytis
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Old men ought to be explorers . . .
—T. S. Eliot
It is rare and wonderful to discover a poet disguised as a man of letters. I had known Edmund Keeley (1928–2022) as a translator of poets, a novelist, critic and editor, a scholar and Princeton professor. Robert Fagles, his friend and fellow translator, had called him “the American voice of modern Greek poetry.” Keeley’s translations and tireless advocacy had contributed to Nobel Prizes for both George Seferis and Odysseus Elytis. Some of this work had been done with others, like Philip Sherrard and George Savidis, but Keeley had done much himself, including Ritsos in Parentheses, the book that introduced Yannis Ritsos to a wide readership in English. Now we have these poems written in his final decade, giving us a warm and welcome sense of the man who wrote them.[1]
My own obsession with modern Greek poetry from C. P. Cavafy to the present day began with Keeley’s versions, an indispensable introduction. I read these books and some of Keeley’s novels and most of his scholarship. We corresponded a bit, met for dinner once in Athens with our mutual friend Chip Ammerman, who ran the Fulbright program there. On another occasion I heard him lecture at a venerable Athenian institution, the Gennadius Library, on his friendship with Seferis. A fit man, bearded and genial, Keeley had a way of putting his juniors at ease. He was funny and unstuffy in spite of all he had accomplished in a long career. He enjoyed the pleasures of both body and mind, which some of us associate with living in Greece. He was well-rounded, articulate and engaged in the highest levels of modern Greek studies.
Then, having thought I knew all there was to know about Edmund Keeley, whose friends called him Mike, I was surprised to learn that he was writing poetry. Roughly a decade ago he began sending poems to The Hudson Review, where I am an advisory editor, and we published some of them. He had apparently been hurt into poetry by the death of his wife, Mary, in 2012. The poems I read in typescript were not formal or ornamental in any way. They had nothing to prove but spoke in disarmingly simple terms. They were elegant and genuine. They did not strain for authenticity but achieved it naturally. I was surprised, but I don’t know why I should have been, that after translation, he found a new pathway through poems.
I suppose it’s because one doesn’t typically think of old men writing poetry. The author of these poems was in his eighties. I thought of Robert Frost, who had lived into his eighties but was well past his prime as a poet. Frost wrote that “all poets I have ever heard of struck their note long before forty.” Was that true? Thomas Hardy had written well in his eighties, and so had Goethe. Richard Wilbur wrote into his nineties. Stanley Kunitz as well. Frost had not only been thinking about one’s physical age, but also about one’s spirit, “how young one has to be or stay” to write good poems. He wrote, “Young poetry is the breath of parted lips. For the spirit to survive, the mouth must find how to firm and not to harden.” Somehow Mike Keeley had kept his spirit young even when his body aged and he suffered the inevitable losses of a long life. The poems gathered in this book, some of them written shortly before his death at ninety-four in 2022, reflect that youthful spirit even when their subject is mortality.
Indeed, the life and work of Edmund Keeley demonstrate that we generalize at our peril about the poetic capabilities of the old and the young. If most poetic careers peter out after a few decades, some of them get a late start and endure much longer than we might have thought possible. To take one classical example, Sophocles lived and wrote into his nineties. Another poet, Virginia Hamilton Adair, born in 1913, had fallen into obscurity until she published a new book in her eighties when she was nearly blind. Keeley’s poems are surprisingly good, and they lend themselves to a shapely and beautiful book, a book that has much to offer us concerning age and grief, love and friendship, marriage and devotion. They also record a love affair with Greece, a lifetime of taking in the tragic sense of life and the resilience Greece continues to teach us. Edmund Keeley never stopped exploring. He lived well, and he wrote well, and his legacy has yet to be fully measured. These twenty-five poems of age will be an important part of that legacy.
*
Perhaps because he was born in Damascus in 1928 and spent much of his life abroad, he never seemed narrowly American. He was a man of the world, the son of a diplomat (a career his brother, Robert, would also follow) and knew something of life in many countries.[2] He also knew how honorable a life of government service could be, which might have given him a special understanding of George Seferis, who spent his career in the Greek diplomatic service.
Keeley wrote of public servants “who were professionally committed to upholding the principles of government, including civil liberties, that their oath pledged them to and who were both sophisticated and relatively independent in their judgement of political events.” He added,
My father had been such a man, perhaps too outspoken against policies that he considered unjust, but not prepared to manipulate others or be manipulated by them against the terms of his oath, even in the name of what others might perceive to be the national interest. And my brother, a career diplomat, was such a man too, as were many colleagues of his that I had met over the years.
These words come from one of Keeley’s most unusual books, The Salonika Bay Murder: Cold War Politics and the Polk Affair (1989), a work that skillfully combines scholarship and journalism to retell the story of the killing of CBS News correspondent George Polk and its aftermath. It reveals the fractures within Greece and in its international relations during and after the Greek Civil War (1944–49). Throughout the book, Keeley reveals himself to be as honorable a servant of the truth as his father and brother. Lacking the evidence that would later be available to writers like Kati Marton, he does not overtly conclude that Polk was shot by right-wing thugs in the employ of a conservative government but leaves the ultimate conclusion an unsolved mystery. At the same time, he thoroughly demolishes the government’s case against Communist guerillas and their sympathizers, accused of murder and accessory to murder.
This is difficult material for Americans to understand. One too-common reaction would be to say that Keeley was a knee-jerk leftist in his sympathies. But in Greece, any sympathy for the left comes with an understanding of geopolitics, the right-wing atrocities that pushed many people leftward, and also the atrocities committed by Communist guerillas that would confirm right-wingers in their own ferocious loyalties. The problem was protracted and complex. Keeley sees clearly the tragedy of modern Greek history, the way individuals and families were torn apart by these conflicts, which arose from resistance to the Nazi occupation during World War II. America chose one side in the Greek Civil War, supporting the right against the left, and in doing so vastly oversimplified the situation on the ground. Ultimately, Keeley’s book is an essential contribution to our understanding of the Cold War as the Greek people suffered it.
Though he takes pains to remain objective in his view, Keeley also reveals, early in The Salonika Bay Murder, the beginnings of his own lifelong relationship with Greece:
I thought of Salonika as one of my home cities in those days. I had
spent three years there before World War II, while my father was the
American consul in Salonika, and for me it still had the aura of a
vividly remembered, if rapidly vanishing, paradise. That was in part
because it was the last place I could remember where I had been
prince of my own domain, with Greeks, Armenians, Jews, Turks, and
a variety of other foreign residents for companions in territory where
all fields were green and where the son of a diplomat—especially an
American diplomat—was not simply an exotic but was normally
treated with such deference by the local caretakers that he could
come to think the fields he played in were his by some unspecified
divine right.
He returned to Greece in the summer of 1947, finding a country much changed by the German occupation and continuing strife. Nearly all of the Jews of Salonika had been removed and murdered by the Nazis, and now the Civil War was entering a third bloody phase with the American military intervention as well as the economic benefits of the Truman Doctrine. On a return trip to teach at the American Farm School in Salonika in 1949, he learned the story of George Polk, who a year earlier had been shot in the back of the head, his body dumped in the city’s harbor. Keeley would not tell the story for another forty years, during which time he became an expert on the culture and literature of modern Greece. No one was better suited to telling the tale.
This new book of poems begins with elegies for Keeley’s wife, and every poem is infused with his personal relationship to Greece. Mike and Mary had met at Oxford in 1950—they were married in 1951. Mary Stathato-Kyris was from a Greek family living in Alexandria. She had also pursued literary studies and would eventually work with him on translations. His novels often deal with Americans who fall in love with Greek women, an autobiographical motif evoking a romance both personal and international, private and historical. While Keeley understood and wrote eloquently about the intoxication foreigners often feel for Greece—its continuous literary culture, its light and islands and sea, its particular way of celebrating mind and body and the untrammeled spirit—he was also one of our best demystifiers of the country, devoted as much to its tangled reality as to its apparent promise of pleasure.
So it is impossible to write about Keeley’s poems without writing also about his relationship to Greece. He was a successful American academic who began teaching at Princeton in 1954 and never left. He established its creative writing and Hellenic studies programs and indeed was partly responsible for a renaissance in Modern Greek Studies in the United States. He and Mary were sociable people, good at hosting and connecting writers. Mike was also president of PEN America from 1992–94, devoting himself to protecting freedom of speech for writers around the world. But all of this institutional and academic prowess did not prevent him from encouraging autodidacts like me. He found literary value in unlikely places and personalities, and he fostered it. His generosity, I would argue, owes something to his Greek wife and his friendships with Greek writers, scholars and artists. A man who understands the Greek term kefi, for a spirit of well-being that comes over one, often on festive occasions, would also understand tragedy and suffering as the great levelers they are. Contrary to the ministrations of the tourist industry, the light of Greece is not a light of diversion, but a light of reality.
*
Keeley would eventually translate many modern Greek poets, but the most influential upon his own poetic stance are Constantine P. Cavafy (1863–1933), George Seferis (1900–1971), Yannis Ritsos (1909–1990), and Odysseus Elytis (1911–1996). For the purposes of this essay the virtues of Keeley’s translations I would most like to stress are simplicity, clarity and veracity. Keeley was modest about his role in bringing this complex and wide-ranging work into English. When he gave public lectures, even in Greece, he insisted that he would not insult his audience by lecturing in Greek but would use his native English. No less a Greek speaker than George Seferis had complimented Keeley’s command of the Greek language, saying it was much better than Seferis’ English, and while this might represent modesty on the part of both men, my subject here is Keeley’s devotion.
In 1951, in the first letter he ever wrote to Seferis, who in his diplomatic career used the family name, Seferiades, Keeley set out his background and the course he intended for his career:
Dear Mr. Seferiades:
I am currently doing research and preparing a thesis on Modern Greek poetry, under the supervision of Professor Trypanis and the Department of Byzantine and Modern Greek at Oxford. The thesis will deal with your poetry and that of Kavafis, Sikelianos, and Elytis, and I expect to submit it for the degree of Doctor of Philosophy. As an American, I am interested in the influence of English on Modern Greek poetry, though the poetry itself is of course my primary concern. I have spent more than five years in Greece, including three years of my childhood, and it is as much a part of my background as my own country. I am therefore interested in doing what I can to acquaint the English-speaking countries with the active, modern culture of Greece.
Mike was twenty-three years old. Within three years he would be a published translator of poets like Cavafy (as the name is usually spelled in English), Seferis and Nikos Gatsos, often in collaboration with the Englishman Philip Sherrard. His epistolary relations with Seferis, who could be reserved but also quite funny, were at first businesslike and formal. It took Keeley many years to stop calling his correspondent “Mr. Seferis,” while the older poet was soon referring to him as “My dear Keeley” and then “Dear Michalaki,” the diminutive of Mike. In Greece one is given an Orthodox saint’s name, and neither of Keeley’s first two names, Edmund Leroy, would fit the bill, so Michali and Michalaki it would be.[3]
A volume published in 1997, George Seferis and Edmund Keeley: Correspondence, 1951–1971, especially Mike’s long introduction, proves an indispensable guide to this aspect of his literary life. We learn that he first approached Seferis’ poetry through its similarity to Eliot’s, and indeed, one can feel an indebtedness to Eliot in the Keeley-Sherrard translations. Seferis would gently correct this impression in his letters, pointing out that he and Eliot had received the same baptism in French poetry and had learned from many of the same sources. In fact, the aural texture of Seferis’ demotic Greek is far richer than most translations have been able to convey. This is true not just of the early rhyming poems, but also of lines in which the Greek conveys a powerful onomatopoeia that would be difficult to reproduce in another language. Keeley’s response was to avoid rhyme in his translations and to opt for as much graceful veracity as he could achieve in tone and intent. In a letter of 1965, Seferis responded to an unrhymed translation of one of his poems by arguing for another approach:
The answer to this riddle was given to me by Dante. “Let everyone know” he says in the Convivio (1st treatise, chap VII), “that nothing which hath the harmony of musical connection can be transferred from its own tongue into another without shattering all its sweetness and harmony”—One does not sacrifice, in such cases, only the rhyming, but at least half of the poem. . . .
In the end the poet and his translators would compromise. The Keeley-Sherrard versions of Seferis are beautiful yet still leave anyone who can read the originals aware that more of their texture might somehow be conveyed.
I myself have done just enough translation to know the problems he faced, and not only with rhyme. For one thing, an inflected language like Greek does not require punctuation for clarity to the degree that English does. Keeley found himself sitting side by side with the poet, going over versions he had made and arguing for changes that would make them clearer to English readers. In his introduction to the correspondence, he retells a story about one such occasion, when Seferis’ wife, Maro, was listening to the two of them argue:
I suggested that part of the obscurity I was encountering in his poems derived from the absence of punctuation, and I cited a specific passage . . . where the addition of a comma at the end of a line might make all the difference. The poet just stared at me, but from the other end of the room, Maro Seferis’s voice rang out in a deep lament: “Put in a comma for the boy, George, help him, for heaven’s sake” (Vale ena comma yia to pedi, Yiorgo, voithise ton, yia onoma tou theou).
Keeley and Sherrard had more leeway in the case of Cavafy, since that poet was long dead, and they made no effort to reproduce the texture of sound, including rhymes in a few poems. The same would be true of Keeley’s translation (with George Savidis) of Elytis’ most famous book, The Axion Esti. Keeley wrote in his introduction:
To deny Elytis his flourishes and hyperboles would be to translate him dishonestly (as would be true of a Greek translator rendering, say, Dylan Thomas). At the same time, we have to acknowledge that any mode of translating poetry that depends so heavily on the resources of sound, rhythmic change, and localized idiom, is certain to do the original one kind of injustice or another. We have chosen what we take to be the lesser of possible evils by not presuming to offer our own arbitrary and foreign patterns of sound, rhythm, or idiom in a doomed effort to imitate the Greek poet more or less literally.
It could be argued that literalness is more or less what these translations achieve, yet they do so with an unobtrusive fluency. By contrast, I can think of a Greek poet, Katerina Anghelaki-Rooke, who translated such sound-driven poets as Dylan Thomas and Seamus Heaney and managed to convey a surprising aural texture corresponding to the originals.
The relative simplicity of Keeley’s translations has its virtues, of course. It was also why I never thought of him as a poet-translator, and why I was surprised to read the late poems collected here. Perhaps he was more at home with a poet like Yannis Ritsos, who had extolled simplicity in a poem Keeley rendered with scrupulous accuracy, “The Meaning of Simplicity”:
I hide behind simple things so you’ll find me;
if you don’t find me, you’ll find the things,
you’ll touch what my hand has touched,
our hand-prints will merge.
The August moon glitters in the kitchen
like a tin-plated pot (it gets that way because of what I’m saying to you),
it lights up the empty house and the house’s kneeling silence—
always the silence remains kneeling.
Every word is a doorway
to a meeting, one often cancelled,
and that’s when a word is true: when it insists on the meeting.
There is a lot to love in this poem, and a lot to admire in the translation. Keeley himself would surely have puzzled for a long time about that word “doorway” in the final stanza. The Greek éxodos is so much more evocative and resonant, with its implications of exile, but would not work in English. “Every word is an exodus” would hammer the biblical allusion too firmly in place. Mike knew the limitations of his choice, and under the circumstances he made a good one.
I once sent him a version I had made of a little Ritsos poem, and he wrote back gently pointing out that I was overloading the sound, trying too hard to be a poet. Ritsos, he said, was more like a dry white wine. What a lovely, simple and resonant image for this great and prolific poet! Mike was pointing out to me that the translator needn’t always elevate himself and his own aesthetic, that he too might hide behind simple things. I think he accomplishes something of that unaffected manner, supple and sometimes dry, in these poems of age.
*
The first seven poems in this collection comprise a “Requiem for Mary.” They deal with her death and burial, and also with the physical and metaphysical presence of Greece woven into their marriage of more than sixty years. He writes of “the great gods of nature / in their capricious wisdom” leaving the droppings of a tree on Mary’s grave. And in the next poem, he notes that Seferis was Mary’s favorite poet. Seferis’ images of exile, a fate he suffered in multiple ways, from the loss of his childhood home at Smyrna to his diplomatic postings and his wanderings with the Greek government in exile during the war, corresponded to Mary’s own background of diaspora. Mary’s ancestors had lived on the slopes of Mount Pelion in northern Greece, yet she grew up in Alexandria (where Cavafy had also lived among Egyptian Greeks under the rule of changing empires). “The Asphodel Plain” refers to the flowers said to grow at the entrance to Hades—that powerful Greek way in which a closeness to nature acknowledges death and the underworld. Poems like “Animals,” “Grass” and “The Molar” explore this connection to nature and the “animal that I am.” As the requiem began with Mary’s grave, it ends with the scene of her death, a moment in which her widowed husband finds himself comforting the hospice nurse before returning to his wife “to do what had to be done . . .” His grief is not in the least diminished by the way he faces death, which he has learned, I would argue, by the way death is commonly faced among the Greek people.
A dozen poems follow in “The Problem of Time,” dealing with changes wrought upon Greece by the refugee crisis, changes wrought upon Keeley himself by time and aging. He had long divided each year between a house in Princeton, New Jersey, and a home in Athens, a city he describes as being really a network of villages, some more prosperous than others. His own “village,” Kolonaki, is usually thought of as one of the city’s wealthiest, but Mike observes “current history and its horrors / that now clears the screen / for what the fates have in mind.” His poem is a love song to the city and its history, ending with a provisional hope that the best of it might survive time’s onslaught.
We have more poems evoking streets and characters, all caught up in time and the permutations of fate. Two of the strongest poems in this section deal with poets he loved, Seferis and Cavafy. “The Gift” is dedicated to Seferis and recalls the wisdom of the dead poet’s long-ago advice to the younger writer:
“Remember that all poems
worth your time and mine
have been given you as a gift,
given you to find
the way a stray cat is found,
given by what gods remain,
maybe as you walk the beach
or turn the corner from the market
or maybe sit on a bench
in an unfamiliar garden.
And they’re given you to know,
claim as your own alone,
only so long as you can hold them,
though you may hope that time
will be forgiving enough
to pass them on to others
to be held by them for their day.
But remember that poems are a gift
beyond the possibility of pride
and that should save you from envy
or thinking too much of yourself . . .”
This gift, this poetry, amounts to a kind of faith that sustains Keeley in old age. He offers a little poem after Cavafy, a hymn to the Aegean and to what persists. The love of Greece and Greek poetry has given him ways of seeing beyond the detritus of the present, through to the timeless presences.
He remembers World War II in “Memorial Day,” and he marvels at his own survival, ultimately in a poem “On Turning Ninety,” which describes
the green fields of loving,
the heart’s selfless companions,
the friends who remained faithful,
these gifts the gods brought
when they managed to glance your way,
and much else beyond understanding
since the luck of your arriving
and your staying this long . . .
He did find those green fields of loving again with Anita Miller, the companion of his late years. He’s a man and a poet with nothing to prove, no one to please, and only the truth of his own experience, his own bemusement and interest in life.
The book’s third section, “Interim,” is a preparation for whatever is to come. Again he evokes the green fields of his own life as well as those of Elysium:
And the green fields they let you cross
Without a word about the gods you worshiped
As you learned what loving finally counted,
What passions could teach you about pleasure
Not only for the body’s sustenance
But a nourishing devotion to those things—
The music, the poetry, the dialogue—
That would satisfy your soul this long
And might still do so even beyond
The luck of your ninety-second year.
A short poem for Wallace Stevens contrasts the old “chaos of the sun” in which we live to the barrenness of a paradise without change. A third poem about change, “Cicadas,” begins with how those extraordinary creatures are celebrated in the poetry of Elytis. Approaching his own final days, his own transformation, Keeley seems concerned with integrating all his experiences of both literature and life.
Finally, this beautiful book of late poetry gives us a moving “Trilogy,” taking us from “Pelion” with its mythic and personal associations through to “Daylight” and our time of pandemic. He suggests we might “kill the literary conceit of Narcissus / Or any mythical love of self / That challenged the love the gods had planted / With the lucid waters of that mountainside . . .” And then in a final poem, “The Day Comes,” he questions his own terms, wondering if even the gods can sustain a person facing the great change. In the end he is left with both “pain and gratitude,” a resonant vision I associate with his love of Greece.
*
Edmund Keeley’s literary life began where he felt he had first come alive as a person—with Greece, its beauties and complex realities, its troubled history and politics, its language and light. The most beautiful of his prose books, to my mind, is Inventing Paradise: The Greek Journey, 1937–47 (1999), which evokes the friendships of foreigners like Lawrence Durrell and Henry Miller with Greek writers like George Katsimbalis and George Seferis. Here, as in the best of his novels, Keeley narrates the terrible events of World War II, the German occupation, the massacres and the civil strife that arose during the Greek resistance. He deepens the vision of his book about the Polk murder and sets the enthusiasm of Miller and other Grecophiles into a context of realistic love. It is a kind of requiem for writers who lost so much and left behind such a moving record of their loyalties and their affections.
Keeley’s generation followed on that of Miller and Durrell and would join with other writers like Kevin Andrews and Patrick Leigh Fermor to extend the literary legacy of Greece with its multiple meanings. It would have been more than enough to accomplish what Keeley did as a translator and exponent of Greece’s great poetry, but he was also a good novelist, a scholar and critic, a teacher and advocate. His brother, Robert, had also loved Greece, ultimately becoming the US Ambassador to that country, and Mike brought a similar practical integrity to his dealings with the academic and literary worlds. All of that would have been enough. Yet he also wrote the poems collected in this book, a late flowering and a gift.
His poem “The Gift,” dedicated to Seferis, suggests that he had shown the older poet his own early attempts at poetry, eliciting the beautiful advice I have quoted here. Whether those early poems were abandoned or not I cannot say. He appears to have surprised even himself with these late poems, and he was delighted by the support they received from journals like The Hudson Review. He asked Paula Deitz if she would gather the poems, which she has done here according to his wishes. The first two sections are given in the sequence he used when he published them as chapbooks in 2015 and 2018. He also told Paula of his gratitude for life and the many gifts he had been given and confirmed that the final three poems were to be published together as a sequence. In them, he said, he was trying to explore something inexplorable but essential, with the hope that younger people would understand. I can imagine that Mike would have been modest about calling himself a poet; he had spent so much of his life as a servant to the poetry of others. Yet this book proves he too was a poet, in addition to everything else, disguised as a man of letters.
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Learn how the strong dollar can help you save money in the Philippines. Find out what goods and services are affected by the strong dollar.
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Have you ever found yourself sauntering along the sun-drenched beaches of the Philippines, a cold San Miguel in hand, wondering why life seems absurdly generous? It’s not just the omnipresent rays of the sun or the ever-grinning locals that lift your spirits. It’s the intoxicating power of America’s strong dollar, a potent force that stretches its might far and wide in these island territories.
Come with me as we dissect this peculiar dance of the strong dollar (Symbol: USD) and Philippine peso (Symbol: PHP). We’ll dive deep into the factors that make the dollar a heavyweight contender and the strategies you can use to get the most bang for your buck, figuratively and literally.
The Inconstant Waltz: The Dollar-Peso Exchange Rate
Imagine this – you’re at a barter, one dollar bill in hand. The Filipinos opposite you hold a handful of pesos. The balance of this economic dance lies in the price of your strong dollar in Philippine pesos. If the peso’s doing the cha-cha at 50 to your dollar, then that lone greenback you possess is worth a cool 50 pesos.
Like any good dance, there’s an ebb and flow to it. These days, the pendulum has swung the way of the Americans. As of this draft, the scales tip at 55 PHP per USD – that’s an impressive 18% climb from a few years ago.
Why the Dollar Packs a Punch in the Philippines?
Now, why does Uncle Sam’s currency have such a stranglehold on the Philippine peso? Firstly, we have the robust and hulking US economy, dwarfing the Philippine counterpart. Investors, ever the jittery lot, put their bets on the proven stallion – the strong dollar – enhancing its allure.
Then, there’s the lopsided trade scales between the nations. The Philippines, in their thirst for US goods and services, import more than they export. This voracious appetite for imports necessitates the purchase of US dollars, bolstering the dollar’s strength.
What Does the Flexing Dollar Mean to You?
Your potent dollar travels a lot further in the Philippines than back home. Let’s say you’re craving a local meal that costs 500 PHP. Your cost in greenbacks? A mere $9 USD. More food, fancier lodgings, and a veritable horde of souvenirs – that’s the advantage of the robust dollar.
The Limits of the Strong Dollar’s Reach
Yet, the dollar’s muscle isn’t universal. Certain goods and services, like high-tech gadgets and imports, are priced in their original form – US dollars. Here, the mighty dollar doesn’t offer you any particular leverage. If you plan to eat Texas beef, smoke Marlboros, and drink Jack Daniels, you’d best stay home as far as the exchange rate goes. Those imported items sell at a premium in Paradise (if you can even find them). Bring your gadgets with you, or buy them from Amazon in the US, which will ship certain items for free to the Philippines.
Navigating the Currency Waters: Finding Current Exchange Rates
For current exchange rates, the internet’s your treasure map:
Google Finance and XE.com are great resources, as is the cool one at the top of this page. Or, you can hit up your local bank or currency exchange bureau. Note that you’ll want to check these to see if money movers like WesternUnion are giving you a good exchange rate.
The Flux in the Dance: Exchange Rate Fluctuations
The dollar-peso tango is a dynamic one, changing with the tides of economic conditions, interest rates, and political upheaval both in the US and the Philippines. If a trip to the islands is on the horizon, keep an eye on these rates to ensure you enter the dance at the right beat.
Outro: The Might of the Strong Dollar in the Philippines
In the Philippines, the dollar’s might is your passport to more – more food, more experiences, more memories. Yet, remember this – not everything is priced in pesos. Your electronics, your imported goods – these are realms where the dollar’s strength doesn’t grant you extra buying power. The dollar vs peso power isn’t universal.
I trust this deep dive into the heart of the dollar vs peso dance has been enlightening. Got questions, queries, or observations? Feel free to leave a comment below. Let’s keep the conversation rolling.
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[
"GoCardless"
] |
2022-05-27T11:11:05.245000+00:00
|
In this post, we’ll note the standard currency acronym of each country so that you can recognise world currency abbreviations.
|
en
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/content-platform/favicon-32x32.png?v=782d298e4e4d81e33987efc57ce8e4d0
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https://gocardless.com/guides/posts/currency-acronyms-and-abbreviations/
|
There are currently 180 different recognised currencies around the world. Learning to recognise these currencies based on their 3-letter abbreviations is important when carrying out trade internationally, especially for businesses that accept payments in local currencies.
In this post, we’ll note the standard currency acronym of each country so that you can recognise world currency abbreviations when you come across them.
Understanding world currency abbreviations
All currencies are presented as 3-letter acronyms. The first two letters refer to the name of the country, while the third letter refers to currency.
For example, the US currency abbreviation is USD, i.e. US dollar. The Polish currency abbreviation, meanwhile, is PLN for Polish złoty, and the Thailand currency abbreviation is THB for Thai baht.
World Currency abbreviations
Below is the currency currently employed by every country, divided up by continent and listed in alphabetical order.
Note that some countries will accept multiple currencies, especially in the developing world. In Georgia, for instance, the currency is Georgian Lari, or GEL, but trade can be carried out in US dollars (USD) and occasionally euros (EUR).
USD is actually the world’s reserve currency, so is often used as a default currency in the case that a local currency is weak or unstable.
European Currencies
The euro is the national currency of 19European countries. However there are many European countries and territories that don't use the euro, which we’ve outlined in the below table:
African Currencies
The West African franc, or XOF, and the Central African franc, XAF, are two main currencies in Africa. However, there are a number of countries that have adopted their own currencies.
Asian Currencies
Each and every country on the continent of Asia has its own currency, except for Timor-Leste which uses the US dollar. Asia is also notable for having the fastest growing economic territory in the world.
Australasia/Oceania Currencies
Countries in the Oceania region are made of independent island states, former European overseas territories, and large countries like Australia. Most of these countries use either the US dollar or the Australian dollar. However, some, such as Vanuatu, have their own currency (VUV).
Middle Eastern Currencies
The Middle East comprises North Africa and Southeast Asia. Some Middle Eastern currencies have extremely high value, including Jordan’s dinar (JOD) and Oman’s rial (OMR).
North and Central American Currencies
North America is made up of The United States, Canada, and Mexico.
In Central America the majority of countries have their own currency, although they may additionally trade in USD.
Caribbean Countries
The East Caribbean dollar (XCD) is used across the Caribbean region, with the US dollar and the euro also being commonly used. However, some Caribbean countries have their own currencies.
South American Currencies
A few South American countries use the US dollar, namely Bonaire, Ecuador and Saba. Curacao is a Dutch territory and uses the currency of the former Kingdom of the Netherlands, known as the Netherlands Antillean guilder. French Guiana, as a French territory, uses the euro.
International payments with GoCardless
If your business operates internationally and across multiple currencies, GoCardless can be a great option from collecting payments from customers.
GoCardless enables businesses to receive international payments from 30+ countries at the real exchange rate. It does this by offering the local bank debit option in each of the supported countries. This allows customers to make payments in their local currency, while the merchant still receives it in their own currency, without the need for any foreign bank accounts.
Plus, while most methods of collecting international payments come with steep processing fees, with GoCardless, they work just like domestic payments - with no hidden pricing or commission in the exchange rate. This makes it one of the most cost-effective options available.
We can help
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https://www.makemytrip.com/tripmoney/currency/philippine-peso%3Fsrsltid%3DAfmBOopgNADNEmM2zndNLUOdxA25L79Jui6jvGqPX0_v4CY2M6jO-CyC
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MakeMyTrip
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https://guidetothephilippines.ph/articles/ultimate-guides/philippine-peso-currency-money-exchange-guide
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Guide to Philippine Peso Currency with Converter Calculator: Where to Exchange Money & Travel Tips
|
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2024-03-07T09:44:13
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Everything you need to know about Philippine currency and money exchange!
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en
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/_next/static/icons/gttp-travelmarketplaces-com-favicon-32x32.png
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Guide to the Philippines
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https://guidetothephilippines.ph/articles/ultimate-guides/philippine-peso-currency-money-exchange-guide
|
The Philippines is a tropical country located in Southeast Asia that is famous for its beautiful beaches, cultural and heritage sites, and vibrant festivals. Aside from the stunning natural wonders, the country is also known for its warm and hospitable Filipino locals, that’s why a lot of travelers around the globe plan a holiday to the Philippines.
If you're thinking of visiting the Philippines, you'll be happy to know it's one of the most affordable destinations. Whether you're a budget traveler looking to backpack your way around or someone who prefers luxury hotels, the Philippines has something for everyone. You'll find everything from cheap hostels to fancy resorts and from tasty street food to high-class dining options.
If you're traveling to the Philippines for the first time, it's important to plan how much money to bring and where to exchange it. You can use this Philippine currency guide to help you know more about the Philippine Peso and essential travel money tips for your vacation.
Philippine Currency Exchange Converter Calculator
You can use this handy widget to easily convert your currency to Philippine Peso. Just enter the amount you want to convert and choose your currency. Whether you're budgeting for your trip or shopping, this online calculatorl makes it easy to plan your financials ahead for your vacation in the Philippines.
Source: https://currencyrate.today/converter-widget
Frequently Asked Questions about Philippine Currency
Check out these FAQs about Philippine money and foreign exchange. Whether you're wondering about what currency does the Philippines use, where to exchange currency in the Philippines, and more, we've got you covered.
What is the currency of the Philippines?
The currency of the Philippines is called the Philippine Peso, abbreviated as PHP or represented by the symbol ₱.
Can I use foreign currency in the Philippines?
It is not recommended to use foreign currency in the Philippines as it may not be accepted widely. It is best to exchange your currency for Philippine Peso (PHP).
Where can I exchange money in the Philippines?
In the Philippines, you can exchange money at various places including:
Banks: Most major banks in the Philippines offer currency exchange services. You can visit their branches to exchange your currency for Philippine Pesos.
Money changers: There are numerous licensed money changers located in popular tourist areas, shopping malls, and business districts in cities across the Philippines. They often provide competitive exchange rates.
Hotels: Some hotels offer currency exchange services for their guests, although rates may not be as favorable as those offered by banks or money changers.
Airport: Currency exchange counters are available at international airports in the Philippines, allowing travelers to exchange money upon arrival or departure. Avoid exchanging large amounts at Philippine airports as rates there can be higher.
Remittance centers: Companies such as Western Union, MoneyGram, and LBC Express offer money transfer services and may also provide currency exchange facilities.
When exchanging money, compare rates and fees for the best deal. Stick to reputable establishments to avoid scams and counterfeit currency.
Is it better to exchange currency in the Philippines or before arriving?
In general, it's better to exchange currency in the Philippines as rates are usually more favorable. If you must exchange at the airport, only exchange a small amount.
Consider booking an airport pick-up and drop-off service in advance to minimize the need for cash upon arrival at major airports, such as Manila Airport or Cebu International Airport.
What is the exchange rate for Philippine Peso?
You can check the current exchange rate for the Philippine Peso on the official website of the Bangko Sentral ng Pilipinas (BSP).
Are credit cards widely accepted in the Philippines?
Yes, credit cards are widely accepted in most urban areas and tourist destinations in the Philippines. But to be sure, it’s best to always carry cash with you since not all establishments in the Philippines are guaranteed to accept credit cards.
Can I withdraw Philippine Peso from ATMs in the Philippines?
Yes, you can withdraw Philippine Peso (PHP) from ATMs in the Philippines. ATMs in the Philippines typically support withdrawals in Philippine Peso using local debit cards, credit cards, and some international cards linked to major networks such as Visa, Mastercard, or American Express.
However, if you are using an international card, it's a good idea to check with your bank first to make sure it will work in Philippine ATMs and to be aware of any associated fees for international transactions.
Can I exchange Philippine Peso back to my home currency?
Yes, you can exchange Philippine Pesos back to your home currency. You can do this at currency exchange offices, banks, or airports. Just bring your Philippine Pesos, and they'll give you the equivalent amount in your home currency. Make sure to check the exchange rates beforehand to get the best deal.
Is it safe to carry cash in the Philippines?
It's safer to carry only the cash you need for the day. Use safe boxes provided in your hotel room for any excess cash. Making an online hotel booking, checking out tours, or renting a car in advance online can help minimize the need for carrying cash.
What's the Best Currency To Bring to the Philippines?
If you're traveling to the Philippines, it's best to bring US dollars (USD) with you. Once you arrive, you can easily exchange them for Philippine Pesos (PHP).
All You Need to Know about the Philippine Peso
In this section, you'll learn more about the history and features of the Philippine peso. The Philippine Peso has a long history that goes back to the time when the Philippines was colonized by Spain. Over the years, the design and value of the Philippine Peso have changed many times.
When you look at Philippine money, you'll notice images of significant figures from the nation's past. These include notable Filipinos like Andres Bonifacio, Apolinario Mabini, Jose Rizal, and Emilio Aguinaldo. Their faces on the money serve as a tribute to their important roles in Philippine history.
What are the denominations of Philippine Peso banknotes and coins?
The Philippine peso comes in various denominations, both in banknotes and coins. Banknotes are available in denominations of 20, 50, 100, 200, 500, and 1000 pesos. Each banknote features unique designs and colors, making them easily distinguishable.
On the other hand, coins are issued in smaller denominations, including 1, 5, 10, and 25 centavos, as well as 1, 5, 10, and 20 pesos. These coins have different sizes, shapes, and materials, with each denomination serving different purposes in daily transactions.
Together, these banknotes and coins form the currency system of the Philippines.
How can I differentiate between genuine and counterfeit Philippine currency?
To determine whether the Philippine money is real or fake, look for special security features introduced by the Bangko Sentral ng Pilipinas (BSP). These include holographic strips, raised prints, watermarks, and other unique elements designed to prevent counterfeiting. Make sure to check for these features. If you're not sure, compare the bill to a real one or ask someone at a bank for help. It's important to be careful so you don't accidentally use fake money.
Photo by Bangko Sentral ng Pilipinas
Can damaged or torn banknotes still be used?
In general, banks and businesses in the Philippines may accept slightly damaged or torn banknotes, but it's better to exchange them for new ones at a bank or financial institution. If the notes are heavily damaged, you might need to exchange them directly at the Bangko Sentral ng Pilipinas (BSP), the central bank of the Philippines. However, to avoid any issues, it's best not to accept or use damaged or torn banknotes whenever you can.
How Much Does It Cost to Stay in the Philippines?
The cost of staying in the Philippines can vary depending on how long you stay and what activities you do. If you're on a budget, you can find Philippine tours starting at PHP250 ($4.55) and travel packages starting at PHP2747 ($49.95). For a more comprehensive, all-inclusive Philippine itinerary, a 5-day trip can be as low as PHP15,000 ($272.73).
Stay at budget-friendly hotels
When visiting the Philippines, consider staying at budget-friendly hotels. These accommodations offer affordable rates without sacrificing comfort. Look for guesthouses, hostels, or budget hotels that provide basic amenities at lower prices. By choosing budget-friendly accommodation, you can save more money for exploring attractions and experiencing local culture. Keep an eye out for discounts or promotions offered by these hotels to maximize your savings during your stay.
Go where the locals eat
Choose local eateries and street food stalls for affordable and authentic meals. These food spots offer delicious Filipino dishes at lower prices than most restaurants, helping you save money while enjoying local flavors.
Book shared tours or activities
Consider booking shared tours or activities instead of private ones. Shared tours, such as shared island hopping tours, are often much cheaper and can provide a budget-friendly way to explore popular destinations and attractions. By joining group tours, you can enjoy the same experiences at a fraction of the cost, allowing you to stretch your travel budget further and make the most of your time in the Philippines.
Avoid traveling during peak season
Traveling during the peak season and holiday season, from March to June and from November to December, can lead to higher rates for accommodations, transportation, and activities. Consider visiting during the off-peak seasons, from January to February or from July to October, to take advantage of lower prices and fewer crowds.
Essential Travel Tips about Money in the Philippines
Traveling in the Philippines requires smart money management to make sure you’ll have a smooth trip. From choosing between credit cards and cash to knowing where to find ATMs and understanding local tipping customs, these essential tips will help you handle your money wisely during your stay.
Credit Card vs Cash
When visiting the Philippines, it's best to have both cash and a credit card on hand. While credit cards are accepted in big cities and luxury hotels, it's still best to carry cash, especially in remote areas where card acceptance may be limited. Cash is universally accepted and handy for small transactions at local establishments. However, having a credit card for emergencies or larger purchases is a good idea.
ATMs in the Philippines
When traveling in the Philippines, you'll find ATMs in cities and popular tourist spots, but they might be scarce in remote areas. These machines are convenient for withdrawing cash, and many are part of international networks like Visa, MasterCard, Cirrus, and Plus. This means visitors with international credit or debit cards can easily withdraw Philippine Pesos.
Before your trip, it's a good idea to check with your bank to ensure your card will work in the Philippines and to learn about any fees or restrictions that may apply. This way, you can avoid any surprises and have easy access to money throughout your trip.
Tipping in the Philippines
Tipping isn't mandatory but is appreciated by service staff and tour guides. Some restaurants may already include a service charge, so check before tipping separately. Typically, tipping is around 10-15% of the total bill, depending on service quality.
What Are the Different Ways To Pay in the Philippines?
In addition to cash and credit cards, there are various digital payment options available in the Philippines, including debit cards, GCash, Maya, and GrabPay. These digital payment platforms offer convenience and security, especially for online transactions and transportation services like taxis and ride-sharing.
Spend Your Money Wisely in the Philippines
As you get ready for your Philippines trip, make sure you're familiar with Philippine currency basics to handle money smoothly while traveling. Also, remember to consider the best time to travel and what to bring to the Philippines to make the most of your adventure. Don't forget to check out all-inclusive Philippines vacation packages for hassle-free travel arrangements.
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https://currencies.fandom.com/wiki/Philippine_peso
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Philippine peso
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[
"Contributors to Currency Wiki"
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2024-07-29T22:27:06+00:00
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The Philippine peso, also referred to by its Filipino name piso (sign: ₱; cPhilippines. It is subdivided into 100 centavos or sentimos in Filipino. As a former colony of the United States, the country used English on its currency, with the word "peso" appearing on notes and coinage until 1967...
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en
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Currency Wiki
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https://currencies.fandom.com/wiki/Philippine_peso
|
This page uses Creative Commons Licensed content from Wikipedia (view authors).
The Philippine peso, also referred to by its Filipino name piso (sign: ₱; cPhilippines. It is subdivided into 100 centavos or sentimos in Filipino. As a former colony of the United States, the country used English on its currency, with the word "peso" appearing on notes and coinage until 1967. Since the adoption of the usage of the Filipino language on banknotes and coins, the term "piso" is now used. Since 2017, the ISO 4217 standard refers to the currency by the Filipino termPhilippine pesojust "P
the Unicode standard in version 3.2 and is assigned U+20B1 (₱). The symbol can be accessed through some word processors by typing in "20b1" and then pressing the Alt and X buttons simultaneously.[2] This symbol is unique to the Philippines as the symbol used for the peso in countries like Mexico and other former colonies of Spain in Latin America is "$".
Banknotes and coins of the Philippines are minted and printed at the Security Plant Complex of the Bangko Sentral ng Pilipinas (Central Bank of the Philippines) in Quezon City.
Coinage[]
Both Spain and the United States struck coins for the Philippines while the latter was their colony. Spanish issues were 1 peso, 2 pesos and 4 pesos (all gold from 1861–1868 and again in 1880-1885). Silver fractional coinage ran from 1864–1868 and again from 1880–1885 and were in the denominations of ten centavo, twenty centavo and fifty centavo.
The United States also struck coins for use in the Philippines from 1903 to 1945. Denominations included the ½ centavo, one centavo, five centavo, 10 centavo, 20 centavo, 50 centavo, and one peso. The ½ and 1 centavo coins were struck in bronze, the 5 centavo struck in Copper (75%) - Nickel (25%), the 10, 20, 50 centavo and peso coins were struck in a silver composition. From 1903 to 1906, the silver coins had a silver content of 90%, while those struck after 1906 had a reduced silver content of 75% for 10 through 50 centavos and 80% for the peso. In both cases the silver was alloyed with copper.
The obverse of these coins remained largely unchanged during the years 1903 to 1945. The ½ centavo, one centavo, and five centavo coins depict a Filipino man kneeling against an anvil, with a hammer resting at his side. He is on the left side (foreground), while on the right side (background) there is a simmering volcano, Mt. Mayon, topped with smoke rings. This figure is an allegory for the hard work being done by the native peoples of the Philippines in building their own future.
The obverse of the 10, 20, 50 centavo, and peso coins are similar, but they show the figure of Liberty, a standing female figure (considered by many to be the daughter of the designer 'Blanca') in the act of striking the anvil with a hammer. This was done to show the work being done by Americans in building a better Philippines. Liberty appears on the silver coins, instead of the base metal coins.
The reverse of the coins comes in two varieties. The earliest coins were minted when the islands were a US Territory, and they bear the arms of the US Territories. This is a broad winged eagle, sitting atop a shield divided into two registers. The upper register has 13 stars, and the lower register has 13 vertical stripes. The date appears at the bottom, and "United States of America" appears at the top.
When the islands became a US Commonwealth, the arms of the Commonwealth were adopted. This seal is composed of a much smaller eagle with its wings pointed up, perched over a shield with peaked corners, above a scroll reading "Commonwealth of the Philippines". It is a much busier pattern, and widely considered less attractive.
Coins were minted at the Philadelphia, San Francisco, Denver, and (after it was opened in 1920) Manila mints. Most of the coins struck at the Manila mint occurred after 1925.
Proof sets were struck for collectors from 1903 to 1908. It is likely that a large majority of these sets remained unsold at the time they were issued. The recorded mintage for sets in 1905, 1906, and 1908 is a modest 500.
Defenders of Corregidor threw a large number of silver coins into the ocean, rather than allow the Japanese to accumulate this wealth. A great deal of the booty was later recovered, but many of those were badly corroded.
Among the rarest coins in the U.S. Philippines series from the collectors' standpoint are the 1906-S One Peso, the 1916-S Five Centavos, the 1918-S Five Centavo Mule, the 1903-S Twenty Centavos (especially in Mint State) and the 1915-S One Centavo.
Three Commemorative coins were minted to celebrate the Commonwealth in 1936. They show President Franklin D. Roosevelt, Commonwealth President Manuel L. Quezon and U.S. High Commissioner Frank Murphy, who also has served as the last Governor General of the Islands. The 50 Centavo commemorative has a reported mintage of 20,000 pieces, was struck in 75% silver, and weighs 10 grams (the same specifications as other 50 centavos). The two varieties of One Peso commemorative had reported mintages of 10,000 pieces. They weigh 20 grams, and are 90% silver.
After the granting of independence to the Philippines in 1946, no coins were minted for the Philippine Republic until 1958, other than a small silver commemorative issue in 1947 to honor General Douglas MacArthur. Totals of 200,000 50 centavos and 100,000 one peso coins were minted with the general's image on the obverse and the national coat-of-arms on the reverse. Struck at the San Francisco Mint, they carry the "S" mintmark below the date.
In 1958, the 20 centavos was replaced with a 25 centavos and all coins were resized to be the same diameter as their US equivalents, albeit in more base metals, other than the centavo. The same seated man with anvil and volcano or standing liberty with anvil and volcano designs were retained for the obverses while the seal of the Central Bank of the Philippines dominated the reverse. These coins were minted by the Philadelphia Mint from 1958 through 1963, and then by the Royal Mint in England and the Vereinigte Deutsche Metallweke in West Germany in 1965 (dated 1964) and 1966. In view of all subsequent issues using the Tagalog language, this coinage is often referred to as the "English Series" since it uses the English language.
The next series was introduced in 1967, introducing images of various Philippine national heroes, and the use of the Tagalog (or "Pilipino") language, hence being called the "Pilipino Series." The sizes of the coins were reduced. These coins were struck by the various US mints, except for some 50 centavos pieces dated 1972 which were minted in Singapore, and a couple commemorative issues struck by the Sherritt Mint in Canada. In 1972 the one peso denomination was reintroduced.
In commemoration of Fedinand Marcos' declaration of Martial Law (which he titled "Ang Bagong Lipunan," the new society), a new series of coinage was issued in 1975, referred to as the Ang Bagong Lipunan Series. The 50 sentimo was done away with as a denomination and a new 5 peso issue took its place. A variety of mints provided these coins, including the Royal Mint in England and the Vereinigte Deutsche Metallweke in West Germany, Philadelphia and San Francisco mints in the US, the Franklin Mint (a private mint also in the US), the Sherritt Mint in Canada, and finally the Philippine's own mint, once it was opened and able to produce coinage. From this point on, the Philippine Mint (Bangko Sentral Pilipinas, "BSP") produced nearly all Philippine coinage.
After eight years, the Ang Bagong Lipunan series gave way to a new series titled the Flora and Fauna Series, in which the coins, in addition to featuring various Philippine national heroes as before, also began featuring various plant and animal life forms native to the Philippines. The 50 Sentimo and 2 Piso denominations were reintroduced, which latter had not been struck as a coin since the Spanish had struck it in gold. The 5 Piso denomination was stopped, but resumed (in a new smaller size) concurrent to the final four years of the Flora and Fauna Series which featured reduced sizes for all denominations. The Flora and Fauna Series was struck from 1983 through 1994.
In 1995 the New BSP Series was introduced, which is still circulating today, but might be demonetized soon. Only this current series of coins are legal tender as of January 2, 1998, when the Bangko Sentral ng Pilipinas issued BSP Circular No. 81 which called for the demonetization of all previous existing Central Bank coins minted before 1995.
Recently, fake 10- and 5-piso coins dating 2001 and 2002 have entered circulation. Because of this, the Bangko Sentral ng Pilipinas issued a warning and several security measures on importing and falsifying Philippine coins. And it is because the BSP has announced that there is an artificial shortage of coins last June 2006. The BSP has asked the public to use all small coins or to have them exchanged for banknotes in local banks or other financial institution.
In December 2008 a Philippine Congress resolution called for the retirement and demonetization of all coins less than 1 Piso. Although, the BSP still circulates coins less than 1 piso.
On November 29, 2017, the Bangko Sentral ng Pilipinas announced the release of the first coin in the New Generation Currency Coin series for circulation starting December 2017. As a tribute to the 154th birth anniversary of Andres Bonifacio, the first coin to be released was the new silver-colored 5-peso coin featuring Bonifacio on the obverse, replacing Emilio Aguinaldo. The reverse features the Tayabak plant and the new BSP logo. [3] The rest of the NGC coin series were presented on March 26, 2018.[4]
Banknotes[]
New Generation Currency Series (current)[]
In 2009, the Bangko Sentral ng Pilipinas announced that it will launch a massive redesign for the banknotes and coins to further enhance security features and to improve durability.[5] The members of the numismatic committee included Bangko Sentral Deputy Governor Diwa Guinigundo and Dr. Ambeth Ocampo, chairman of the National Historical Institute. Designed by Studio 5 Designs and Design Systemat, the new banknotes' designs features famous Filipinos and iconic natural wonders. Philippine national symbols will be depicted on coins. The BSP started releasing the initial batch of new banknotes in December 2010. The word used in the bills was "Pilipino" (ᜉᜒᜎᜒᜉᜒᜈᜓ). On December 16, 2010, the new design for Philippine banknotes were released. The font used for lettering in the banknotes is Myriad, while the numerals are set in the Twentieth Century font.[6] On December 16, 2016, BSP announced that they will launch sets of banknotes bearing President Duterte's signature. The BSP initially released five million pieces of the new 20, 50, 100, 500, and 1,000-peso bills with Duterte's signature. As for the 200-pesos bills, only two million pieces were released because of lower demand for this denomination.[7]
The New Generation Currency series will be the only circulating set of notes by December 30, 2017.[8]
In 2017, the BSP updated the design of the NGC series banknotes with the following changes:[9]
Replacing the signature of BSP governor Amando Tetangco Jr. to the newly appointed governor Nestor Espenilla Jr. (all banknotes)
Enlarged the font size of the year of issue (all banknotes)
Italicization of the scientific names on the reverse (all banknotes)
Replaced the images of the Aguinaldo Shrine and the Barasoain Church on the obverse side of the ₱200 banknote with scenes of the Declaration of Philippine Independence and the opening of the Malolos Congress respectively.
The text "October 1944" was added after the word "Leyte Landing" at the obverse of the ₱50 banknote
The Order of Lakandula Medal and the phrase “Medal of Honor” were removed on the obverse side of the ₱1000 banknote
Coins[]
Obverse Reverse Face Value Diameter Mass Edge Thickness Composition Edge Obverse Reverse Introduced File:Philngc1sentobv.jpg File:Philngc1sentrev.jpg 1 sentimo 15 mm 1.90 g 1.54 mm Nickel-plated steel Plain "Republika ng Pilipinas"; Three stars and the sun (stylized representation of the Philippine flag); Value; Year of minting; Mint mark Xanthostemon verdugonianus (Mangkono); logo of the Bangko Sentral ng Pilipinas March 26, 2018 File:Philngc5sentob.jpg File:Philngc5sentrev.jpg 5 sentimo 16 mm 2.20 g 1.60 mm Nickel-plated steel Reeded "Republika ng Pilipinas"; Three stars and the sun (stylized representation of the Philippine flag); Value; Year of minting; Mint mark Calotropis gigantea (Kapal-kapal Baging); logo of the Bangko Sentral ng Pilipinas March 26, 2018 File:Philngc25sentobv.jpg File:Philngc25sentrev.jpg 25 sentimo 20 mm 3.60 g 1.65 mm Nickel-plated steel Plain "Republika ng Pilipinas"; Three stars and the sun (stylized representation of the Philippine flag); Value; Year of minting; Mint mark Dillenia philippinensis (Katmon); logo of the Bangko Sentral ng Pilipinas March 26, 2018 File:Philngc1pisoobv.jpg File:Philngc1pisorev.jpg ₱1 23 mm 6.00 g 2.05 mm Nickel-plated steel Segmented (Plain and Reeded edges) "Republika ng Pilipinas"; Portrait of José Rizal; Value; Year of minting; Mint mark Vanda sanderiana (Waling-waling); logo of the Bangko Sentral ng Pilipinas March 26, 2018 ₱2 TBD TBD TBD TBD TBD TBD TBD TBD File:Philngc5pisoobv.jpg File:Philngc5pisorev.jpg ₱5 25 mm 7.40 g 2.20 mm Nickel-plated steel Plain "Republika ng Pilipinas"; Portrait of Andrés Bonifacio; Value; Microprint of "Republika ng Pilipinas"; Year of minting; Mint mark Strongylodon macrobotrys (Tayabak); logo of the Bangko Sentral ng Pilipinas; Microprint of "Bangko Sentral ng Pilipinas" November 30, 2017 File:Philngc10pisoobv.jpg File:Philngc10pisorev.jpg ₱10 27 mm 8.00 g 2.05 mm Nickel-plated steel Reeded with edge inscription of "BANGKO SENTRAL NG PILIPINAS" in italics "Republika ng Pilipinas"; Portrait of Apolinario Mabini; Value; Microprint of "Republika ng Pilipinas"; Year of minting; Mint mark Medinilla magnifica (Kapa-kapa); logo of the Bangko Sentral ng Pilipinas; Microprint of "Bangko Sentral ng Pilipinas"; Microdots March 26, 2018 ₱20 TBD TBD TBD TBD TBD TBD TBD late 2019 or early 2020
Banknotes[]
New Generation Currency series Image Value Dimensions
(millimetres) Main Colour Design Year of First Issue Usage in circulation Obverse Reverse Obverse Reverse File:PHP 20 obv.jpg File:PHP20 reverse.jpg
₱20Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value).
160 × 66 Orange Manuel L. Quezon, Declaration of Filipino as the national language, Malacañang Palace Banaue Rice Terraces; Paradoxurus hermaphroditus philippinensis (palm civet); Cordilleras weave design December 17, 2010 Wide File:PHP 50 obv.jpg File:PHP 50 rev.jpg ₱50Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Red Sergio Osmeña, First Philippine Assembly, Leyte Landing Taal Lake in Batangas; Caranx ignobilis, maliputo (giant trevally); Batangas embroidery design December 17, 2010 Wide File:PHP 100 obv (2010).jpg File:PHP 100 rev (2010).jpg ₱100Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Violet Manuel A. Roxas, Old Bangko Sentral ng Pilipinas (BSP) building in Intramuros, Manila, Inauguration of the Third Philippine Republic Mayon Volcano in Albay; butanding, Rhincodon typus, whale shark; Bicol textile design December 17, 2010 Wide File:PHP 100 obv (new).jpg File:PHP 100 rev (new).jpg ₱100Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Violet Manuel A. Roxas, Old Bangko Sentral ng Pilipinas (BSP) building in Intramuros, Manila, Inauguration of the Third Philippine Republic, stronger mauve color than previous banknote Mayon Volcano in Albay; butanding, Rhincodon typus, whale shark; Bicol textile design April 11, 2015 Wide File:PHP 200 obv (old).jpg File:PHP 200 rev (old).jpg ₱200Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Green Diosdado P. Macapagal, EDSA People Power 2001, Aguinaldo Shrine in Kawit, Cavite, Barasoain Church in Malolos, Bulacan
Chocolate Hills in Bohol; Tarsius syrichta, Philippine tarsier; Visayas weave design
December 17, 2010 Limited File:PHP 200 obv (2017).png File:PHP 200 rev (new).jpg ₱200Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Green Diosdado P. Macapagal, EDSA People Power 2001, Declaration of Philippine Independence in Kawit, Cavite, Opening of the Malolos Congress in Barasoain Church, Malolos, Bulacan
Chocolate Hills in Bohol; Tarsius syrichta, Philippine tarsier; Visayas weave design
December 5, 2017 Limited File:PHP 500 rev.jpg ₱500Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Yellow Corazon C. Aquino, Benigno S. Aquino, Jr., EDSA People Power I, Benigno Aquino monument in Makati City
Subterranean Underground River in Puerto Princesa, Palawan; Tanygnathus lucionensis, blue-naped parrot; Southern Philippines cloth design
December 17, 2010 Wide File:PHP 1000 obv (old).jpg File:PHP 1000 rev (old).jpg ₱1000Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Light Blue José Abad Santos, Vicente Lim, Josefa Llanes Escoda; Centennial celebration of Philippine independence; Philippine Medal of Honor
Tubbataha Reefs Natural Park in Sulu Sea; Pinctada maxima, South Sea pearl; Mindanao design for Tinalak (Ikat-dyed abaca)
December 17, 2010 Wide File:PHP 1000 obv(new).png File:PHP 1000 reverse (new).jpg ₱1000Lua error in Module:Anchor at line 14: attempt to call field 'compressSparseArray' (a nil value). 160 × 66 Light Blue José Abad Santos, Vicente Lim, Josefa Llanes Escoda; Centennial celebration of Philippine independence
Tubbataha Reefs Natural Park in Sulu Sea; Pinctada maxima, South Sea pearl; Mindanao design for Tinalak (Ikat-dyed abaca)
December 5, 2017 Wide Template:Standard banknote table notice
Security[]
Raised ink on all upper-left numbers (20, 50, 100, 200, 500, 1000) - All banknotes
Rough Texture - All banknotes
Concealed Value - All banknotes
Watermark - All banknotes
See-through registration device - All banknotes
5mm-wide 3D Security Thread - 1000 peso notes
4mm-wide Metallic Security thread - 100, 200, and 500 notes
2mm-wide Embedded Security thread - 20 and 50 Peso notes
Optically Variable Device Patch - 500 and 1000 Peso notes
Optically Variable Ink - 1000 Peso notes
UV Light - All Banknotes
Errors[]
Several errors have been discovered on banknotes of the New Generation series and have become the subject of ridicule on social networking sites. Among these are the exclusion of Batanes from the Philippine map on the reverse of all denominations, the mislocation of the Puerto Princesa Subterranean Underground River on the reverse of the 500-peso bill and the Tubbataha Reef on the 1000-peso bill, and the incorrect coloring on the beak and feathers of the blue-naped parrot on the 500-peso bill.[10][11] The scientific names of the animals featured on the reverse sides of all banknotes were incorrectly rendered as well.[12]
According to Design Systemat, the designers of the new bills, that drafts prepared by the company of the new 500-peso bill shows a red beak of the blue-naped parrot. This color was changed by the printers to account for practical printing concerns. The designers further explains that printing banknotes is not like printing brochures. Due to the intalgio printing and limited printing capability of banknote printers, it can only produce a limited full color reproduction.
The alleged mislocation of the Tubbataha Reef on the one thousand peso note was due to a security feature, a smaller version of the featured species on the bills' reverse (which is also featured on all banknote denominations) was located on top of the exact location of the Tubbataha Reef on the map. Giving the option of either moving the key security feature on the standard position or locating the Tubbataha marker correctly, the bills' French printers, Oberthur Technologies, decided to move the reef marker slightly south on the Philippine map.[13]
History[]
For more information, see History of Philippine money in the English Wikipedia
The Isabella peso or peso fuerte[]
The Isabelline peso, more formally known as the peso fuerte, was a unit of account divided into 100 céntimos (equivalent to 8 reales fuertes or 80 reales de vellón). Its introduction led to the Philippines' brief experiment with the gold standard, which would not again be attempted until the American colonial period. The peso fuerte was also a unit of exchange equivalent to 1.69 grams of gold, 0.875 fine (0.0476 XAU), equivalent to ₱1,390.87 (refers to the modern peso; as of September 2015).
Coin production at the Casa de Moneda de Manila began in 1861 with gold coins (0.875 fine) of three denominations: 4 pesos, 2 pesos, and 1 peso. On March 5, 1862, Isabel II granted the mint permission to produce silver fractional coinage (0.900 fine) in denominations of 10, 20, and 50 centimos de peso. Minting of these coins started in 1864, with designs similar to the Spanish silver escudo.
American Colonial Period (1901-1945)[]
After the United States took control of the Philippines, the United States Congress passed the Philippine Coinage Act of 1903, established the unit of currency to be a theoretical gold peso consisting of 12.9 grains of gold 0.900 fine (0.026875 XAU), equivalent to ₱2,933.07 modern pesos of as of 22 December 2010.
The act provided for the coinage and issuance of Philippine silver pesos substantially of the weight and fineness as the Mexican peso, which should be of the value of 50 cents gold and redeemable in gold at the insular treasury, and which was intended to be the sole circulating medium among the people. The act also provided for the coinage of subsidiary and minor coins and for the issuance of silver certificates in denominations of not less than 2 nor more than 10 pesos.
Commonwealth Period (1935-1946)[]
When the Philippines became a US Commonwealth in 1935, the coat of arms of the Philippine Commonwealth were adopted and replaced the arms of the US Territories on the reverse of coins while the obverse remained unchanged. This seal is composed of a much smaller eagle with its wings pointed up, perched over a shield with peaked corners, above a scroll reading "Commonwealth of the Philippines". It is a much busier pattern, and widely considered less attractive.
Modern currencies (1946-present)[]
Pilipino Series[]
The Pilipino series banknotes is the name used to refer to Philippine banknotes issued by the Central Bank of the Philippines from 1969 to 1973, during the term of President Ferdinand Marcos. It was succeeded by the Ang Bagong Lipunan Series of banknotes, to which it shared a similar design. The lowest denomination of the series is 1-piso and the highest is 100-piso. This series represented a radical change from the English series. The bills underwent Filipinization and a design change.After the declaration of Proclamation № 1081 on September 23, 1972, the Central Bank demonetized the existing banknotes (both the English and Pilipino series) on March 1, 1974, pursuant to Presidential Decree No. 378.[13] All the unissued banknotes were sent back to the De La Rue plant in London for overprinting the watermark area with the words "ANG BAGONG LIPUNAN" and an oval geometric safety design.
Ang Bagong Lipunan series[]
The Ang Bagong Lipunan Series (literally, ”The New Society Series") is the name used to refer to Philippine banknotes issued by the Central Bank of the Philippines from 1973 to 1985. It was succeeded by the New Design series of banknotes. The lowest denomination of the series is 2-piso and the highest is 100-piso. After the declaration of Proclamation № 1081 by President Ferdinand Marcos on September 23, 1972, the Central Bank was to demonetize the existing banknotes in 1974, pursuant to Presidential Decree 378. All the unissued Pilipino Series banknotes (except the one peso banknote) were sent back to the De La Rue plant in London for overprinting the watermark area with the words "ANG BAGONG LIPUNAN" and an oval geometric safety design. The one peso note was replaced with the two peso note, which features the same elements of the demonetized "Pilipino" series one peso note. On September 7, 1978, the Security Printing Plant in Quezon City was inaugurated to produce the banknotes. And a minor change of its BSP seal.
New Design Series[]
The New Design Series (NDS) was the name used to refer to Philippine banknotes issued from 1985 to 1993; it was renamed the BSP series when the Bangko Sentral ng Pilipinas was established in 1993. It was succeeded by the New Generation Currency (NGC) banknotes issued on December 16, 2010. The NDS/BSP banknotes were no longer in print and legal tender after December 31, 2015. The NDS/BSP notes was demonetized and exchanged with NGC notes in 2016; all will be withdrawn from circulation originally scheduled by January 1, 2017. The demonetization was however extended until December 29, 2017 after the Bangko Sentral ng Pilipinas approved the extension due to public clamor.
New Generation Currency (current)[]
In 2009, Bangko Sentral ng Pilipinas (BSP) announced that it has launched a massive redesign for current banknotes and coins to further enhance security features and improve durability. The members of the numismatic committee include BSP Deputy Governor Diwa Guinigundo and Ambeth Ocampo, Chairman of the National Historical Institute. The new banknote designs feature famous Filipinos and iconic natural wonders. Philippine national symbols will be depicted on coins. The BSP started releasing the initial batch of new banknotes in December 2010.
References[]
Philippine peso on the English Wikipedia
v · d · e
Philippine peso Banknotes 5¢ • 10¢ • 20¢ • ₱½ • ₱1 • ₱2 • ₱5 • ₱10 • ₱20 • ₱50 • ₱100 • ₱200 • ₱500 • ₱1,000 • ₱2,000 • ₱100,000 Coins ½¢ • 1¢ (1903–1963) • 1¢ (1967–) • 5¢ (1903–1966) • 5¢ (1967–) • 10¢ (1864–1885) • 10¢ (1903–1966) • 10¢ (1967–) • 20¢ (1864–1885) • 20¢ (1903–1945) • 25¢ (1958–1966) • 25¢ (1967–) • 50¢ (1865–1885) • 50¢ (1903–1964) • 50¢ (1967–) • ₱½ • ₱1 • ₱2 • ₱4 • ₱5 • ₱10 • ₱25 • ₱50 • ₱80 • ₱100 • ₱150 • ₱200 • ₱500 • ₱1,000 • ₱1,500 • ₱2,000 • ₱2,500 • ₱5,000 • ₱10,000 Miscellaneous Bangko Sentral ng Pilipinas • Centavo • Peso • Philippine peso sign • Sentimo • Nestor Espenilla Jr.
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Currency in Philippines - Philippine Peso - PHP
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See the current exchange rate for Philippine Peso PHP. Use the currency converter for SEK to PHP and exchange the currency PHP - Philippine Peso at FOREX.
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https://www.forex.se/en/currency/php/
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PHP – the currency in Philippines
Are you traveling to Philippines and need Philippine Peso (PHP)? At FOREX, you can easily buy PHP for your trip. We offer both online purchases and personal service in our stores.
When you buy PHP online, you can choose to have your currency delivered to the nearest postal agent or pick it up at any of our stores. Our goal is to make your Phillipine Peso order simple and hassle-free.
With the currency converter, you can calculate PHP to SEK and stay fully informed about the current exchange rate. The currency graph shows the historical development of Phillipine Peso against SEK over time. You can choose a timeframe from 2012 up to today.
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How to Send Wire Transfers in Online Banking or Mobile App
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Send wire transfers directly from online banking or within the mobile app. Learn how to send and receive international or domestic wire transfers online.
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/etc.clientlibs/consumer-marketing/clientlibs/main/resources/images/favicon.ico
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Bank of America
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https://info.bankofamerica.com/digital-banking/wire-transfers
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Exchange rates fluctuate, at times significantly, and you acknowledge and accept all risks that may result from such fluctuations. If we assign an exchange rate to your foreign exchange transaction, that exchange rate will be determined by us in our sole discretion based upon such factors as we determine relevant, including without limitation, market conditions, exchange rates charged by other parties, our desired rate of return, market risk, credit risk and other market, economic and business factors, and is subject to change at any time without notice. You acknowledge that exchange rates for retail and commercial transactions, and for transactions effected after regular business hours and on weekends, are different from the exchange rates for large inter-bank transactions effected during the business day, as may be reported in The Wall Street Journal or elsewhere. Exchange rates offered by other dealers or shown at other sources by us or other dealers (including online sources) may be different from our exchange rates. The exchange rate you are offered may be different from, and likely inferior to, the rate paid by us to acquire the underlying currency.
We provide all-in pricing for exchange rates. The price provided may include profit, fees, costs, charges or other mark ups as determined by us in our sole discretion. The level of the fee or markup may differ for each customer and may differ for the same customer depending on the method or venue used for transaction execution.
In connection with our market making and other activities, we may engage in hedging, including pre-hedging, to mitigate our risk, facilitate customer transactions and hedge any associated exposure. Such activities may include trading ahead of order execution. These transactions will be designed to be reasonable in relation to the risks associated with the potential transaction with you. These transactions may affect the price of the underlying currency, and consequently, your cost or proceeds. You acknowledge that we bear no liability for these potential price movements. When our pre-hedging and hedging activity is completed at prices that are superior to the agreed upon execution price or benchmark, we will keep the positive difference as a profit in connection with the transactions. You will have no interest in any profits.
We also may take proprietary positions in certain currencies. You should assume we have an economic incentive to be a counterparty to any transaction with you. Again, you have no interest in any profit associated with this activity and those profits are solely for our account.
You acknowledge that the parties to these exchange rate transactions engaged in arm’s-length negotiations. You are a customer and these transactions do not establish a principal/agent relationship or any other relationship that may create a heightened duty for us.
We do not accept any liability for our exchange rates. Any and all liability for our exchange rates is disclaimed, including without limitation direct, indirect or consequential loss, and any liability if our exchange rates are different from rates offered or reported by third parties, or offered by us at a different time, at a different location, for a different transaction amount, or involving a different payment media (including but not limited to bank-notes, checks, wire transfers, etc.).
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https://asiasomeday.com/philippine/en/article/currency-in-the-philippines/
|
en
|
Currency in the Philippines - Money in the Philippines
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2020-01-02T06:58:47+00:00
|
This article on currency on the Philippines is your go-to guide. From ATMs and credit cards to insider tips and advice, we've got you covered.
|
en
|
philippine
|
https://asiasomeday.com/philippine/en/article/currency-in-the-philippines/
|
The official currency of the Republic of the Philippines is Peso (PHP). When it comes to the subject of currency exchange, certain countries are more difficult to manage than others. We are happy to say that currency exchange in the Philippines is a very simple and hassle-free process. In fact, you can complete most transactions in major cities without carrying any of the local currency using your credit card. However, keep in mind that converting your currency to the Philippines’ Peso is important as card payments are not available everywhere in the country. Everything you need to know about handling your money in the Philippines is present here.
The most common denominations of the Peso are 20, 50, 100, 500 and 1000.
Converting currency in the philippines
It is always best to convert your currency in the Philippines. You will always find better rates than what your bank offers you. Additionally, the Philippines will not let you pass through customs with more than 10,000 Pesos on you. If you enter the country with more than this amount then customs will require you to convert the excess amount to your native currency.
It is best to simply bring your currency into the country and get it exchanged in one of the many currency exchange centers in the big cities. There are several around Manila and Cebu. The currency exchange rates for the Philippines are perfect if you’re travelling from the West or from Australia. The ideal bargain that assures a reasonable return for your money.
There multiple means to exchange currency in the Philippines. However, doing it through a bank is definitely the safest.
Credit Cards in the Philippines
You can complete most large payments in cities like Manila and Cebu using your credit card. We recommend using this mode for hotel payments and transactions in touristy locations like Boracay. That is where you can best use it. However, don’t forget to inform your bank about your trip in advance or else you’ll get your card blocked.
Given the widely famous street food and street shopping culture in the Philippines, it is always a good idea to have a decent amount of cash on you.
Breaking Currency in the Philippines
You must always carry some spare change with you at all times to make small payments like taxi fares and street food. The food is delicious and you’ll definitely be sampling some, but you need smaller denominations for that. It will be hard to find the vendors or the drivers to be able to break large denominations.
On your trip, make sure that you hold on to the coins that you get, as they can be used for these small transactions. Another way to make sure that you always have some change is to complete payments at larger establishments using the largest note that you have.
Street food stalls in the Philippines require you to carry and make payments in exact change most of the times.
Additional Tips
Always carry cash when you are planning on visiting any of the smaller islands. ATMs are exceedingly difficult to find on these islands. This is important to keep in mind regarding money in the Philippines.
Keep your credit card safe and make sure you withdraw money from ATMs that are attached to banks to protect yourself from identity theft.
Ideally, you should use your card to withdraw local currency from ATMs. If you are ever in a pinch for Pesos, this is definitely one of the best ways to get some.
Keep track of conversion rates whenever you convert your currency. Look around a bit for the best deal possible.
Most ATMs have a withdraw limit. This is usually 10,000 pesos.
Most of the ATMs in the Philippines have a withdraw limit in the Philippines. In urban towns making card payments or having access to ATMs is a lot more easier as compared to the smaller islands.
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| 79
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https://www.wellsfargo.com/foreign-exchange/currency-rates/
|
en
|
Order Foreign Currency Cash
|
https://www17.wellsfargomedia.com/favicon.ico
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https://www17.wellsfargomedia.com/favicon.ico
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Order foreign currency cash online.
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https://www17.wellsfargomedia.com/favicon.ico
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https://www.wellsfargo.com/foreign-exchange/currency-rates/
|
Whether or not the wire transfer fee is waived, Wells Fargo makes money when we convert one currency to another currency for you. The exchange rate used when Wells Fargo converts one currency to another is set at our sole discretion, and it includes a markup. The markup is designed to compensate us for several considerations including, without limitation, costs incurred, market risks, and our desired return. The applicable exchange rate does not include, and is separate from, any applicable fees. The exchange rate Wells Fargo provides to you may be different from exchange rates you see elsewhere. Different customers may receive different rates for transactions that are the same or similar, and the applicable exchange rate may be different for foreign currency cash, drafts, checks, or wire transfers. Foreign exchange markets are dynamic and rates fluctuate over time based on market conditions, liquidity, and risks. Wells Fargo is your arms-length counterparty on foreign exchange transactions. We may refuse to process any request for a foreign exchange transaction.
Incoming wire transfers received in a foreign currency for payment into your account will be converted into U.S. dollars using the applicable exchange rate without prior notice to you. For more information, see the "Applicable Exchange Rate" and "Incoming international wire transfer" sections of the Deposit Account Agreement.
Fees may be charged by third parties or other banks, in addition to those described above.
|
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https://www.global-exchange.com.au/en/currencies-of-the-world/philippine-peso
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en
|
Philippine Peso
|
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https://www.global-exchange.com.au/documents/20151/31618/favicon.png/54a53a66-bc81-dbec-5206-5cee30bb0cd9?t=1667562804900
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https://www.global-exchange.com.au/en/currencies-of-the-world/philippine-peso
|
The currency of the Philippines (officially, Republic of the Philippines) is called the Philippine Peso. Its ISO 4217 code is PHP and it has PhP or $ as symbol. The issuer of the Philippine Peso is the Central Bank of the Philippines (CBF).
The Peso is known in Filipino and Tagalog as "piso" and is divided into 100 cents ("sentimo" in the previous languages).
These currencies are issued by the Central Bank of the Philippines. This Central Bank was created by the Republic Act No. 265 on January 3rd, 1949. It is the BCF that manages the banking operations and the country's credit system. In addition, this Act gives the CBF all the powers to print and mint Filipino money since then.
Banknotes and coins of the Philippine peso in use
The Peso coins are minted in the Security Plant Complex of the Philippines. At present, coins of 1, 5, 10 and 25 cents are in use and those of 1, 2, 5 and 10 pesos are in use.
As for the peso notes, they are printed at the Security Plant Complex or at the National Printing Office. At present time, notes of 20, 50, 100, 200, 500 and 1,000 pesos circulate.
Did you know?
The Philippines has a population of about 102 million inhabitants, being the 12th most populated country in the world. In addition, 11 million Filipinos are currently living abroad.
The word "Philippines" derives from the name of King Felipe II of Spain (deformation of "Felipinas"). In addition, the official name of the Philippines has changed several times in the course of its history.
Before 1967, the language used in the notes and coins of the Philippines was English. Then it was known as "Peso". But a short time later the name was used in Filipino, changing its name to the "Piso" currency.
The Philippine peso has its origins in the Spanish Real of 8 and in the Mexican peso, which circulated widely throughout the Americas and Southeast Asia during the seventeenth and eighteenth centuries.
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https://www.gmanetwork.com/news/money/economy/857218/is-a-strong-peso-net-positive-for-the-philippines/story/
|
en
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Is a strong peso net positive for the Philippines?
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2023-01-12T19:02:46+08:00
|
A stronger peso would be beneficial “in terms of lower importation costs/prices and overall inflation passed on to the general public,” Rizal Commercial Banking Corp. chief economist Michael Ricafort said in a mobile message.
|
en
|
https://www.gmanetwork.com/favicon.ico
|
GMA News Online
|
https://www.gmanetwork.com/news/money/economy/857218/is-a-strong-peso-net-positive-for-the-philippines/story/
|
The Philippine peso appreciated against its US counterpart for the past five trading days before losing steam on Thursday, but economists believe a stronger peso may not be all positive to the general public.
The local currency lost 49 centavos to close Thursday at P55.29:$1 from Wednesday’s finish of P54.8:$1, which was the local currency’s strongest performance in six months.
Rizal Commercial Banking Corp. chief economist Michael Ricafort considered the depreciation as a “healthy upward correction,” following the recent dovish signals, particularly on the possible cut in the first half of the year.
Ricafort said this could then bring about a possible pause in the Bangko Sentral ng Pilipinas’s (BSP) policy tightening, and a possible intervention through purchasing US dollars from the market to boost the gross international reserves (GIR), especially if there is “excess” peso appreciation.
He noted, however, that the peso continues to be at five-months highs against the US dollar, after hitting a fresh record-low of P59:$1 several times last year. Central bank officials believe the “worst is over the for the strong dollar.”
A stronger peso would be beneficial “in terms of lower importation costs/prices and overall inflation passed on to the general public,” Ricafort said in a mobile message.
His sentiments were mirrored by ING Bank Manila senior economist Nicholas Antonio Mapa, who said that imports would cost less, but exports would cost more and therefore lose their competitive pricing versus the country’s peers.
“A stronger currency may translate to less imported inflation, a development that would benefit all Filipino consumers. On the flip side, however, a stronger currency would make our exports less attractive relative to competing peers,” he said in an emailed commentary.
Latest data from the Philippine Statistics Authority (PSA) showed that the country’s trade deficit stood at $3.677 billion in November, as the country recorded $10.777 billion in imports, and while exports were $7.100 billion.
Mapa’s statement was echoed by John Paolo Rivera, an economist at the Asian Institute of Management (AIM), who said that importers would gain from a stronger peso as the cost of products would be relatively cheaper, while exports would lose as they would sell at lower rates.
“A stronger peso benefits the consumers because most products in the Philippines are imported, they are relatively cheaper,” he said in a separate mobile message.
However, Rivera said overseas Filipino workers (OFWs) would lose in a stronger peso as the value of their foreign currency would be weaker in the Philippines.
“Bottomline, if the public is able to afford basic goods and services, then everyone is better off than a weaker currency but soaring prices,” he said.
For University of Asia and the Pacific economist Victor Abola, however, a weaker peso would be “net positive” in general for the Philippines with an estimated population of 110 million.
“It is net positive. Contrary to popular belief, the depreciation of the currency actually is positive for the Philippines because of one, you have around 70 million people who benefit from it,” he said in a separate briefing.
“For every peso, the OFWs, your exporters, even your BPOs (business process outsourcing) are encouraged to increase salaries,” he added.
Abola also cited the “misconception” of the pass-through effect of the depreciation of the Philippine peso to inflation, as he said that every 5% depreciation would translate to a 0.2 percentage point increase in inflation.
“It’s not something that is worrisome. If you keep your depreciation rate moderate, that is not destructive. This is our experience. We’re quite unique in the emerging market space because we have a lot of OFWs,” he said.
Inflation accelerated to a fresh 14-year-high of 8.1% in December to bring the full-year 2022 average to 5.8%, higher than the central bank’s target range of 2% to 4%.
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https://www.makemytrip.com/tripmoney/currency/philippine-peso
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MakeMyTrip
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https://www.worlddata.info/currencies/php-philippine-peso.php
|
en
|
Countries that use the Philippine peso
|
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Usage and exchange rates of the Philippine peso. Convert PHP to any other currency.
|
en
|
//cdn.worlddata.info/pics/favs/64x64.png
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Worlddata.info
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https://www.worlddata.info/currencies/php-philippine-peso.php
|
The Philippine peso is an official national currency and used only in the Philippines. 1 Peso is devided into 100 Centavos.
ISO 4127:
PHP
Numeric:
608
Symbol:
₱
List of all currencies
Overview: Philippines
1.00 Philippine pesos = 0.018 US dollars
Currency:
Convert to:
Amount:
↔ Reverse currencies
Exchange rate history 10 PHP in USD
The graph shown here shows the exchange rate development from January 2018 to March 2024. The exchange rate for 10 PHP moved during this time from USD 0.19 to USD 0.18. In these 74 months it fell by 6.4 percent.
› Inflation development in the Philippines
Currency reserves for the Philippine peso
According to the International Monetary Fund, the total broad money (M3) amounted to PHP 18.913 trillion at the end of 2022. For currency hedging, reserves were held in a total amount of 5.232 trillion pesos. This corresponds to a ratio of 1:3.6. Or in other words, 10 of 36 pesos are deposited with a countervalue, which is internationally already above average.
Approximately 154.94 billion pesos (3.0%) of the currency reserves exist in gold reserves. The remainder consists of foreign currencies, special drawing rights in the International Monetary Fund and other reserve positions.
› Worldwide currency and gold reserves
Sources
All conversion rates are based on data from the European Central Bank.
Data on currency and gold reserves are from the International Monetary Fund.
|
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https://www.oanda.com/currency-converter/en/currencies/majors/php/
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en
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Philippine Peso
|
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Get information about the PHP currency. The Philippine peso (PHP), or ‘piso’ in Filipino, is the official currency of the Philippines. The symbol of the Philippine peso is ₱.
|
en
|
/favicon.ico
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https://www.oanda.com/currency-converter/en/currencies/majors/php/
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Description
The Philippine peso (PHP), or ‘piso’ in Filipino, is the official currency of the Philippines. It's subdivided into 100 centavos, or ‘sentimos’ in Filipino. The symbol of the Philippine peso is ₱.
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https://www.smallworldfs.com/en/blog/what-is-the-currency-of-the-philippines
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The Philippine peso: the currency of the Philippines
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2021-10-08T00:00:00
|
How do you send money to The Philippines? What is the currency in The Philippines? Learn everything you need to know about the Philippine peso.
|
en
|
/assets/www/images/favicon/apple-touch-icon.png
|
Small World Money Transfer
|
https://www.smallworldfs.com/en/blog/what-is-the-currency-of-the-philippines
|
The Philippines is a country of around 7,640 islands scattered across the western Pacific Ocean. If you have family and friends living in the Philippines, or you’re thinking about travelling there, you may want to know a bit more about the country. Learning about the currency of the Philippines is a great place to start.
In this blog we’ll be exploring everything you need to know about the currency of the Philippines.
Below you’ll learn about:
The Filipino local currency, the Philippine peso
How is the Philippine peso recognised?
The history of the Philippine peso
The Philippine peso today
Exchange rates
How can I send money to The Philippines from the United States?
What currency does the Philippines use?
The currency of the Philippines is the Philippine peso. The currency is also commonly referred to by its Filipino name: piso. The currency of the Philippines was for a long time tied up with currencies of Spanish and American colonists. But now the Philippine peso is controlled and issued by the central bank, Bangko Sentral ng Pilipinas (BSP).
The Philippine peso is printed and minted at The Security Plant Complex. The colourful peso notes are very distinctive and feature several notable figures from Filipino history.
How is the Philippine peso recognised?
The Philippine peso is recognised by the sign: ₱ and the currency is internationally recognised by the code PHP. Alternative symbols are also used including: “PhP”, “Php” or “P”.
The subunit for the Philippine peso is called the Sentimo or Centavo, which subdivides into 1 peso one hundred times. However, the smaller denominations are not in widespread circulation and it’s rare to find any 1¢, 5¢, 10¢, 25¢ or ₱20. The frequently used denominations include the ₱20, ₱50, ₱100, ₱500, and the ₱1000.
The history of the Philippine peso
The currency of the Philippines has had a long and difficult history. Before the Philippine peso, there was the Spanish-Filipino Peso and shortly after that the currency was pegged to half of the US Dollar.
It wasn’t until the Central Bank of the Philippines was established in 1949 that the formal Filipino currency was reintroduced to the country. Then in 1967 the English language was removed from the notes and coins of the Philippine peso and the Filipino language was used on all the denominations. As a result the word “piso'' came into common use within the country instead of peso.
During the latter half of the twentieth century the Philippines experienced positive economic and political developments which enabled the currency to stabilise and improve. And in 1993 the old Central Bank was replaced with a new Central bank: Bangko Sentral ng Pilipinas whose responsibility was to maintain price stability and help the Philippine peso grow.
Although the Philippines endured plenty of overseas interference which saw their currency experience many changes over the years, they now have a more stable currency that is tied to the culture and history of the Philippines.
The Philippine peso today
The current series of the Philippine peso in circulation is called the New Generation Currency. In 2009, Bangko Sentral ng Pilipinas (BSP) decided it was time for some change and they launched a large-scale redesign of the currency.
The new banknotes were an attempt to improve security features and ensure that the currency was more durable. The notes also featured enlarged font size, italicised names, new text and new images. The vibrant and distinct coloring for many of the notes still remains.
For example, the bright orange ₱20 note features the famous Filipino statesmen Manuel L. Quezon and the Malacanang Palace on the obverse side, and the famous Banaue Rice Terraces on the reverse side. Similarly, the red ₱50 note depicts the fourth President of the Philippines Sergio Osemña on the obverse side and images of the Taal Lake and the maliputo (giant trevally) on the reverse side.
In the last decade some further changes to the peso circulation occurred. In 2016 Bangko Sentral ng Pilipinas (BSP) started to distribute new 100-peso notes that supposedly made it easier to differentiate the colours of the 100-peso and 100-peso banknote. In 2019, Bangko Sentral ng Pilipinas (BSP) also announced that it would convert the ₱20 note into a coin.
So we know what the Philippine peso looks like today, but what about it’s worth? To truly understand the state of the Philippine peso today we have to take a look at some exchange rates.
Exchange rates
It’s useful to compare the Philippine peso to other major currencies around the world. With that knowledge we can work out the general state of the Filipino economy and we can decide when is the best time to send money to the Philippines.
In the opening months of 2021 the average exchange rate of the US dollar to the Philippine peso was 1 USD to 48.7 PHP, with a low of 47.5 PHP and a high of 50.9 PHP. In addition, during a similar period in 2021 the average exchange rate of the Euro to the Philippine peso was around 1 EUR to 58.3 PHP. This is useful information to consider when thinking about sending money to the Philippines from the United States.
How can I send money to The Philippines from the United States?
You can send money to The Philippines with Small World’s simple and effective money transfer service. Now that you have some knowledge of the Philippine peso it will be easier to know where your money is going and how much it is worth in the Philippines.
You may still have more questions like, “Where should you buy currency in the Philippines?”, or “How do you send paper currency to the Philippines?”. Thankfully, we’ve got you covered. There are several ways to send money to the Philippines with Small World, including: Bank deposit, Cash Pickup, Cash Card Reload, Airtime Top-up and Home delivery.
Small World has facilitated millions of money transfers all around the world. Our money transfer services are available in many major states including California, Texas, New York, New Jersey and Florida. So if you need to support your loved ones in the Philippines, rely on Small World.
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9083
|
dbpedia
|
1
| 15
|
https://docmckee.com/travel/dollar-vs-peso-why-youre-rich-in-the-philippines/
|
en
|
Dollar vs Peso: Why You’re Rich in the Philippines
|
[
"https://docmckee.com/wp-content/uploads/2023/05/Doc-Travels.png"
] |
[] |
[] |
[
""
] | null |
[] |
2023-06-20T17:35:21+00:00
|
Learn how the strong dollar can help you save money in the Philippines. Find out what goods and services are affected by the strong dollar.
|
en
|
https://docmckee.com/travel/dollar-vs-peso-why-youre-rich-in-the-philippines/
|
Have you ever found yourself sauntering along the sun-drenched beaches of the Philippines, a cold San Miguel in hand, wondering why life seems absurdly generous? It’s not just the omnipresent rays of the sun or the ever-grinning locals that lift your spirits. It’s the intoxicating power of America’s strong dollar, a potent force that stretches its might far and wide in these island territories.
Come with me as we dissect this peculiar dance of the strong dollar (Symbol: USD) and Philippine peso (Symbol: PHP). We’ll dive deep into the factors that make the dollar a heavyweight contender and the strategies you can use to get the most bang for your buck, figuratively and literally.
The Inconstant Waltz: The Dollar-Peso Exchange Rate
Imagine this – you’re at a barter, one dollar bill in hand. The Filipinos opposite you hold a handful of pesos. The balance of this economic dance lies in the price of your strong dollar in Philippine pesos. If the peso’s doing the cha-cha at 50 to your dollar, then that lone greenback you possess is worth a cool 50 pesos.
Like any good dance, there’s an ebb and flow to it. These days, the pendulum has swung the way of the Americans. As of this draft, the scales tip at 55 PHP per USD – that’s an impressive 18% climb from a few years ago.
Why the Dollar Packs a Punch in the Philippines?
Now, why does Uncle Sam’s currency have such a stranglehold on the Philippine peso? Firstly, we have the robust and hulking US economy, dwarfing the Philippine counterpart. Investors, ever the jittery lot, put their bets on the proven stallion – the strong dollar – enhancing its allure.
Then, there’s the lopsided trade scales between the nations. The Philippines, in their thirst for US goods and services, import more than they export. This voracious appetite for imports necessitates the purchase of US dollars, bolstering the dollar’s strength.
What Does the Flexing Dollar Mean to You?
Your potent dollar travels a lot further in the Philippines than back home. Let’s say you’re craving a local meal that costs 500 PHP. Your cost in greenbacks? A mere $9 USD. More food, fancier lodgings, and a veritable horde of souvenirs – that’s the advantage of the robust dollar.
The Limits of the Strong Dollar’s Reach
Yet, the dollar’s muscle isn’t universal. Certain goods and services, like high-tech gadgets and imports, are priced in their original form – US dollars. Here, the mighty dollar doesn’t offer you any particular leverage. If you plan to eat Texas beef, smoke Marlboros, and drink Jack Daniels, you’d best stay home as far as the exchange rate goes. Those imported items sell at a premium in Paradise (if you can even find them). Bring your gadgets with you, or buy them from Amazon in the US, which will ship certain items for free to the Philippines.
Navigating the Currency Waters: Finding Current Exchange Rates
For current exchange rates, the internet’s your treasure map:
Google Finance and XE.com are great resources, as is the cool one at the top of this page. Or, you can hit up your local bank or currency exchange bureau. Note that you’ll want to check these to see if money movers like WesternUnion are giving you a good exchange rate.
The Flux in the Dance: Exchange Rate Fluctuations
The dollar-peso tango is a dynamic one, changing with the tides of economic conditions, interest rates, and political upheaval both in the US and the Philippines. If a trip to the islands is on the horizon, keep an eye on these rates to ensure you enter the dance at the right beat.
Outro: The Might of the Strong Dollar in the Philippines
In the Philippines, the dollar’s might is your passport to more – more food, more experiences, more memories. Yet, remember this – not everything is priced in pesos. Your electronics, your imported goods – these are realms where the dollar’s strength doesn’t grant you extra buying power. The dollar vs peso power isn’t universal.
I trust this deep dive into the heart of the dollar vs peso dance has been enlightening. Got questions, queries, or observations? Feel free to leave a comment below. Let’s keep the conversation rolling.
|
||||||
9083
|
dbpedia
|
2
| 17
|
https://wise.com/gb/travel-money/philippine-currency
|
en
|
Currency in the Philippines: A Complete Guide
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[] | null |
Heading to the Philippines? Find out what currency is used in the Philippines, tips and tricks for Philippine currency exchange, and spending and saving money on your visit.
|
en
|
Wise
|
https://wise.com/gb/travel-money/philippine-currency
|
The currency in the Philippines is the Philippine peso. Each peso is divided into 100 sentimos.
When you’re buying currency for the Philippines, look out for the currency code PHP. And once you’re in the Philippines, you’ll see the symbol ₱ used to show prices.
You’ll find Philippine banknotes in denominations of 5, 10, 20, 50, 100, 200, 500 and 1000 - although the 5 and 10 PHP notes are seldom used. There are also 1, 5 and 10 peso coins.
Sentimos come in coins of 1, 2, 5, 10 and 25.
The Wise Philippine peso travel money card lets you top up in your local currency, and switch to peso to spend when you’re in the Philippines. You’ll get the best rate for spending in Philippine peso - and can also hold and spend 40+ other currencies with the same card.
Get your Wise travel money card online for free, to send and spend money around the world at the mid-market exchange rate.
Simply top up your card and convert to the currency you need in real time using the Wise app.
You’ll always get the mid-market exchange rate with no hidden costs, and you’ll avoid foreign transaction fees while withdrawing from ATMs abroad, paying in restaurants and shops, and buying your accommodation and flights.
Learn more about the Philippine peso card
Paying by credit or debit card in the Philippines
Cards can be used in bigger cities and in major tourist resorts in the Philippines - but carrying cash as an alternative and for smaller purchases is a good plan.
ATMs in the Philippines
It's surprisingly tricky to find a functioning ATM outside of the major cities in the Philippines - you may even struggle on popular tourist islands. Stock up on local cash when you're in the cities to make sure you don't run out as you travel.
To get the best deal when spending on card or withdrawing money in the Philippines, don’t forget to use the Wise travel money card to avoid sneaky exchange rate markups and excessive fees.
|
|||||
9083
|
dbpedia
|
0
| 9
|
https://www.forbes.com/advisor/money-transfer/currency-converter/usd-php/
|
en
|
USD To PHP: Convert United States Dollar to Philippine Peso
|
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[
"calogero guagenti"
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2024-08-19T14:45:00
|
Use our currency converter to find the live exchange rate between USD and PHP. Convert United States Dollar to Philippine Peso
|
en
|
Forbes Advisor
|
https://www.forbes.com/advisor/money-transfer/currency-converter/usd-php/
|
If you plan to visit the Philippines in the near future, you may want to convert USD to PHP. While most big Philippine cities have a high level of credit card acceptance, experts recommend that you have some emergency cash on hand—especially if you’re traveling to areas outside major towns and cities.
Here’s what you need to know before converting U.S. dollars into Philippine pesos, including how to make the conversion and where you’ll find the best exchange rates.
How to convert U.S. Dollars to Philippine Pesos
There are two ways to calculate approximately how many Philippine pesos you can get for your dollar: You can either use a conversion calculator or convert it by hand. Here’s a closer look at each method.
1. Use a Currency Calculator
Using a currency conversion calculator is a great way to estimate how much money you’ll have to spend on your trip. Since exchange rates change often, using a calculator will help ensure that your conversion is correct.
Keep in mind that exchanging currency typically comes with fees that won’t be factored in by a calculator. For example, most credit card processors and ATM networks charge a 1% conversion fee on all foriegn transactions. Individual merchants may also pass along their own fees if you ask them to convert a price into your home currency at the cash register.
2. Calculate It Manually
The other option is to calculate the conversion manually. However, before you can get started, you need to know the current exchange rate. At the time of writing, $1 USD is equivalent to ₱ 54.92 PHP.
Manual Currency Conversion Example
Say that you have $500 USD and you want to know how much money you would have for a trip to the Philippines. In that case, your conversion equation would look something like this:
$500 USD x 54.92 = ₱ 27,460 PHP
How to Buy Philippine Pesos
Exchange at a bank or credit union before your trip: Exchanging money at your local banking center before your trip is likely the most cost-effective way to get the money you need. Since you have an existing relationship with the bank, it’s more likely to give you the best exchange rates. Still, some fees may apply. For example, TD Bank charges its customers $7.50 for each currency conversion transaction.
Order currency online: If you can’t order online through your bank, you can also have currency delivered to your door by third-party providers like Currency Exchange International (CXI). Just be sure to do your research and to keep an eye out for high fees. While CXI doesn’t charge any exchange fees, it will charge you up to $30 for overnight shipping,
Use your bank’s ATM abroad for withdrawals where possible: If you have to exchange more money while abroad, your best bet is to find an ATM in your home bank’s network, as that can help you save on fees. For example, Citibank and HSBC have ATMs in the Philippines. Most banking apps have an “ATM locator” feature that can help you find the closest option.
Look for SM Mall department stores: This popular department store chain in the Philippines has a currency exchange counter inside. However, exchange rates may vary by store. SM Mall suggests calling customer service at (02)8811-0000 beforehand to confirm rates at nearby locations.
What to Avoid
Currency exchange at the airport: While waiting to exchange currency at the airport may be convenient, it’s often a costly decision. Currency exchange kiosks often offer some of the worst exchange rates while charging the highest fees.
Next Up:
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Buy Philippine Pesos Online
|
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Buy Philippine pesos with our online rates. Choose from home delivery or in-store collection. Order your Philippine pesos today.
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https://www.travelex.co.uk/currency/about-currency/philippine-pesos
|
Pesos in your pocket
The peso, in one form or another, has been around for centuries. It was in 1521 when the Spanish arrived at the shores of the Philippines and replaced the trading of gold for goods in favour of a more formalised currency.
If your restaurant bill has the letters ‘SC’ on it, this means a service charge has been added already, and you therefore don’t need to leave an extra tip. However, if not, a tip of 10% would be very much appreciated. Just ensure that you give any tips directly to your serving staff, since otherwise they may end up not benefitting at all from your generosity.
Frequently used banknotes
Banknotes used include 20, 50, 100, 200, 500 and 1,000 PHP. Coins used often are for 1, 5 and 10 PHP, with coins in cents rare due to their low value.
Today’s pesos come in many denominations, including the 20 PHP bill, which features the Philippines’ second president, Manuel L. Quezon, on the note.
If you want to get around with a debit or credit card, keep in mind that there aren’t too many Filipino retailers who accept payments via MasterCard, Visa or other international providers.
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https://www.ibon.org/ph-peso-catch-me-im-falling/
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PH Peso: Catch Me I’m Falling
|
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2022-10-06T11:50:01+08:00
|
The Philippine peso has been hitting record low after record low. This will be among the main drivers of accelerating domestic inflation which will burden Filipinos with rising prices of basic needs on top of their floundering incomes and earnings.
|
en
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IBON Foundation
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https://www.ibon.org/ph-peso-catch-me-im-falling/
|
The Philippine peso has been hitting record low after record low. This will be among the main drivers of accelerating domestic inflation which will burden Filipinos with rising prices of basic needs on top of their floundering incomes and earnings.
The government says the peso’s fall is due to external factors. The United States (US) Federal Reserve is particularly blamed for its aggressive interest rate hikes since the start of the year. Saying that so many other currencies are also weakening against the dollar, the government basically wants to justify inaction – because the peso’s fall is like a natural calamity that we have no control over.
Freefalling peso
US interest hikes do make the US dollar stronger which is a major factor in the peso’s current depreciation. However, the administration’s calculated dismissiveness diverts from how there are deeper reasons for the peso falling to record lows; there’s an underlying structural reason why the peso has been falling for over 60 years now.
Philippine peso falling to record lows. Philippine Peso per US Dollar exchange rate, 1946-Sept 2022p (Php)
Putting the blame entirely on the US also diverts from how the Marcos Jr. administration is not completely helpless and can take more active measures to at least moderate the peso’s depreciation.
Forex dump
Before anything else – what does it mean to say that the dollar exchanges for so many pesos? The foreign exchange (forex) rate is basically the amount of one currency that you can exchange for another. For instance, US$1 now exchanges for Php59.
That is the familiar putting of the dollar in peso terms. We can go the other way though and put the peso in dollar terms – in which case we get the less familiar but still correct calculation that Php1 exchanges for around US$0.017.
When the peso is said to be “weakening” the technical term for what is happening is that the peso is depreciating or losing value. In effect, the peso is getting cheaper – for example from being US$0.021 in January 2021 to less than US$0.017 today. The opposite happening is an appreciation.
If the forex rate is basically the price of a currency, then what sets this price? The current forex regime in the country is a flexible exchange rate system. Under this set-up, the price of the peso is basically set by its supply and demand in the forex market. To put it a little simplistically, imagine a forex market with just pesos and dollars. If the demand for dollars relative to the peso increases, then the price of dollars rises and conversely the price of the peso falls.
Another forex regime that was common for a very long time is the fixed exchange rate regime. Under this set-up, the government sets the price of its currency and decides when to change it depending on forex market conditions. Here, an adjustment downward in a currency’s value is called a devaluation (instead of depreciation) while the opposite is a revaluation.
The Philippines had a fixed exchange rate regime until 1970 when it adopted the flexible exchange rate system which it has until today
Even after supposed Philippine independence, the US tied the exchange rate at Php2:US$1. There were strict currency controls. Only the Central Bank traded in foreign exchange and decided where to allocate these. By 1962, direct controls were lifted and the banking system was allowed to do currency trading albeit under strict Central Bank regulation. All foreign exchange earnings had to be surrendered.
The peso was floated in 1970 and allowed to be set by foreign exchange trading and market conditions. The Central Bank however still continued to manage the currency through the purchase and sale of foreign exchange and some capital account restrictions. Notably, the consecutive devaluations in 1983-1984 under International Monetary Fund (IMF) stabilization programs precipitated inflation reaching a record-high 49.8% in 1984. Currency management was liberalized further in 1992.
Foreign exchange earnings increased especially with growing overseas remittances. Pursuing policies supportive of neoliberalism, the Central Bank declared inflation targeting as its approach to monetarist policy in 2002. This also meant that it formally stopped setting targets for the exchange rate and – apart from possibly some smoothening – would just accept the exchange rate resulting from prevailing policy interest rates set according to inflation targets.
Show your depreciation
A country’s foreign exchange rate is a strange creature. It measures the demand for a currency but can actually also be a tool for influencing the demand for a currency. This is also why a depreciation or devaluation is not necessarily a sign of “weakness” and, in a different context, may even be consciously used by a government to boost exports.
In the case of the peso though, it really is a sign of weakness. It is no coincidence that the peso’s decades-long freefall accelerated as the Philippines liberalized and weakened domestic agricultural and manufacturing production.
Peso depreciated as agricultural and domestic manufacturing weakened. Industry Share of GDP, 1946-2021 (%, at constant prices)
This is also the broader context in which to understand recent comparisons of the peso’s fall against other countries. The peso’s problem, we are told, is not exceptional because the currencies of other more developed countries like Japan and Korea are also falling.
Yet while this may be the case in the last few months, the picture is different taking a longer view.
Peso historically falling much more than Thai baht, Malaysian ringgit, Japanese yen, and Korean Won. Average USD per selected Asian currencies, 1966-present (1986=100, monthly)
From this perspective, the peso has clearly fallen much more than the Malaysian ringgit, Thai baht and Korean Won. The Japanese yen even strengthened.
These countries have also seen their domestic economic foundations improve by so much more than ours – even those who may have seen their currencies “weaken” in the past decades.
Trading down
The country’s import-dependence has been worsening since the dictator Marcos set the country on the path of neoliberal economic policies especially from the late 1970s. With manufacturing at its smallest share of the economy since the 1950s and agriculture at its smallest in the country’s history, the country is importing more and more of what it needs.
These imports are largely paid for in dollars, and what the constant peso depreciation is saying is that the country is not earning enough dollars to pay for these imports and other foreign transactions. The demand for foreign exchange is for imports but also to finance hot money or portfolio investment outflows, profit remittances of foreign corporations, overseas investments and spending of Filipinos, and external debt service.
Exports being less than imports is a big factor though and the country’s trade deficit is not just chronic but even worsening.
Trade deficits worsened in the era of neoliberalism, Trade surplus/deficit, 1946-2021 (US$ million, % of GDP)
Whether measured in absolute terms or as a share of gross domestic product (GDP), the country’s trade deficit has gravely worsened since the late 1970s. The US$43.1 billion deficit equivalent to 11% of GDP in 2021 is already the second worst in the country’s history.
The peso’s depreciation is justified as improving exports by making what the country produces cheaper and implicitly improving our trade balance. This does not seem to be the case though and decades of the peso depreciating have just seen the trade deficit generally worsening.
Peso falls but trade deficits still grow. Trade deficit (as % of GDP) and Peso-Dollar exchange rate (Php:US$), 1946-2021
This is mainly because of underdeveloped agricultural and industrial production. The peso’s depreciation makes imports more expensive with unfortunately no substantial domestic export response because we are producing so little that the rest of the world would be interested in. The growing import bill offsets any supposed export gain.
As it is, agricultural, forestry and mineral products are down to less than 15% of exports. Although some 85% of reported exports are manufactured goods, these are mostly made by foreign manufacturers based in the Philippines that are themselves hugely import-dependent.
The country’s agricultural trade includes manufacturing raw materials like tobacco and wood, animal feeds, ornamental plants, and other non-food products. Still, the overwhelming majority of agricultural trade consists of food. The country’s growing food insufficiency is particularly striking.
Agricultural trade deficit at record high. Agricultural trade surplus/deficit, 1980-2021 (US$ million, % of GDP)
It means that we are producing or exporting less and thus importing more agricultural products. The agricultural trade deficit of US$8.9 billion deficit equivalent to 2.3% of GDP in 2021 is the biggest in the country’s history.
OFWs win?
The peso’s fall would be even worse were it not for the country’s single biggest source of foreign exchange – overseas Filipino workers (OFWs). While overseas remittances continue to increase, the rate of growth has slowed and their equivalent share in GDP has actually been falling for over a decade now.
Overseas remittances still growing but weakening. Overseas Remittances, 1980-2021 (US$ million, % of GDP)
Another way that the peso depreciation is spun is that OFW families benefit. Yet though substantial, less than three out of five Filipino families (28%) get cash receipts from abroad and will gain from a stronger dollar vis-à-vis the peso (Family income and Expenditures Survey or FIES 2015). As it is, only 7.2% of total family income comes from abroad which is actually much smaller than 11.1% reported two decades ago in 2000 (FIES various years).
The average cash remittance of OFWs is even falling and is down to just Php12,963 monthly as of 2020 from Php13,683 the year before (Survey on Overseas Filipinos 2020). A large part of any foreign exchange gain that families receive will likely just be off-set by the rising prices of goods and services.
This is even aside from how the OFWs themselves are likely also struggling with rising prices wherever they are deployed to.
Taking control
What should be done? The most important long-term concern is to strengthen the economy’s fundamentals – develop domestic agriculture and build Filipino industry. This should lessen the demand for dollars to import so much of our needs, as well as increase the supply of dollars from selling genuinely Filipino world-class products.
That journey of a thousand miles can however begin with a single step today – moderating the peso’s fall to lessen the adverse impact on millions of distressed Filipino households. The pressure on the peso from growing demand for finite dollars can be lessened. Little can be done in the short-term in terms of reducing imports of essential food and fuel, even as there should already be investments in reducing this import-dependence.
More can be done by the government reining in its own demand for dollars. It can pull back on the so-called Build, Better, More (BBM) infrastructure projects that import so much of their materials, machinery, equipment and even contractors. It can also negotiate with foreign creditors to reschedule external debt service, especially international development agencies and governments seen as “partners, friends and allies”.
The government can also consider capital controls especially on the outflow of capital as successfully used, for instance, by Malaysia and Taiwan during the 1997 Asian Financial Crisis and notably by China and India even today. There can be targeted measures to slow short-term portfolio capital movements or perhaps even other external capital transactions. These can range from higher transaction taxes to more explicit restrictions. These will be easier to impose if the Philippines coordinates with other countries in similarly difficult circumstances.
There are no easy answers to the mounting difficulties the Philippine economy and the Filipino people are facing. Neoliberal or free market dogma is however a self-imposed constraint that the government can choose to relax in favor of a more pragmatic approach. The situation is so urgent that any and every justification for inaction should be critically examined.
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What's the Currency in the Philippines?
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Planning a trip to Philippines? Learn what is the currency in Philippines: All about the Philippine Peso in 2024 with tips and methods for saving while spending money on your trip.
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en
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/favicons/favicon-16x16.png
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https://www.monito.com/en/what-is-the-currency-in/philippines
|
Travelling to the Philippines
With its different currency, banking system, and money customs, figuring out the best way to pay in the Philippines if you travel there can be tricky. Fortunately, many forms of payments have become ubiquitous around the globe, including:
Credit cards: Cards from VISA and Mastercard are accepted in the Philippines, especially in touristy establishments.
Debit cards: Debit cards linked to your bank account let you make purchases at point-of-sale terminals and withdraw cash.
Cash: Having some Philippine peso banknotes could help for small purchases, tipping, and emergencies. You can typically exchange currency at a bank or exchange bureau before or upon arrival.
Mobile payments: Mobile payment services like Apple Pay, Google Pay, or Alipay are an increasingly popular way to pay, but you'll need to check beforehand how available these methods are in the Philippines.
Prepaid travel cards: A reloadable debit card with a Philippine peso balance can give you good value, security, and convenience.
Of these methods, using a prepaid travel card is almost always the best way to pay in the Philippines because they generally incur lower fees on Philippine peso currency exchange than credit cards or bank debit cards do. Moreover, many prepaid travel cards let you hold multi-currency balances, allowing you to dodge DCCs and other sneaky fees while travelling — all while providing the same level of security and convenience as you're used to from your credit or debit card!
Depending on where you're from, you may be able to find a prepaid travel card from your bank. Still, we recommend using a global provider like Revolut because it offers excellent exchange rates, multi-currency balances, and a travel debit card that allows you to spend on your holiday like a local and enjoy peace of mind after each tap, swipe, or cash withdrawal.
Revolut is only available in the United States, the United Kingdom, the EU/EEA, Australia, Japan, Singapore, Azerbaijan, Sri Lanka, Brazil, and Chile. If you live in Canada or New Zealand, the Wise Account is another excellent option to consider. If you're from any other country, we recommend checking out what multi-currency cards are available in your country or whether your bank offers any similar products.
Sending Money to the Philippines
Every year, many people send money to the Philippines for all kinds of reasons. These include supporting friends or family, paying for someone's tuition, settling business transactions, purchasing or upgrading property, and many others. If you want to send an international money transfer to a Philippine peso bank account in the Philippines, then you should be aware of the high fees and exchange rates that go along with global money transfers with your international bank (these fees often constitute more than 10% of your transfer amount — you can read all about this in our dedicated explainer here).
Fortunately, international money transfers are a competitive market with many trustworthy alternative providers jostling to offer you the best exchange rates (rates which almost always far outdo those you'll find at the bank!). However, because the cheapest provider to send money abroad differs depending on factors such as where you're sending from, the amount you're sending, the payment method and others, we recommend skipping the hassle and finding the cheapest provider in real time with Monito's live comparison tool below 👇
Find the best deal when sending money to the Philippines:
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Philippine Peso Exchange Rates
The Philippine peso is one of around 180 currencies worldwide. This means that the Philippine peso trades against all other official currencies around the globe, giving us exchange rates: a measure of how much of one currency we can exchange for another.
Exchange rates can fluctuate over time due to various economic, political, and market factors. A higher exchange rate means that the value of one currency has increased compared to another, while a lower exchange rate means the opposite. Exchange rates are essential when travelling to, buying goods and services from, or sending money to the Philippines.
With Monito's currency pages, you can follow the live exchange rate to the Philippine peso, see which providers offer the best deals, and set up smart email alerts to follow fluctuations:
You can also use the above tool to enter your currency to see its exchange rate with the Philippine peso or set up email alerts to be notified when the exchange rate passes a certain value.
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https://docmckee.com/travel/dollar-vs-peso-why-youre-rich-in-the-philippines/
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Dollar vs Peso: Why You’re Rich in the Philippines
|
[
"https://docmckee.com/wp-content/uploads/2023/05/Doc-Travels.png"
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2023-06-20T17:35:21+00:00
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Learn how the strong dollar can help you save money in the Philippines. Find out what goods and services are affected by the strong dollar.
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en
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https://docmckee.com/travel/dollar-vs-peso-why-youre-rich-in-the-philippines/
|
Have you ever found yourself sauntering along the sun-drenched beaches of the Philippines, a cold San Miguel in hand, wondering why life seems absurdly generous? It’s not just the omnipresent rays of the sun or the ever-grinning locals that lift your spirits. It’s the intoxicating power of America’s strong dollar, a potent force that stretches its might far and wide in these island territories.
Come with me as we dissect this peculiar dance of the strong dollar (Symbol: USD) and Philippine peso (Symbol: PHP). We’ll dive deep into the factors that make the dollar a heavyweight contender and the strategies you can use to get the most bang for your buck, figuratively and literally.
The Inconstant Waltz: The Dollar-Peso Exchange Rate
Imagine this – you’re at a barter, one dollar bill in hand. The Filipinos opposite you hold a handful of pesos. The balance of this economic dance lies in the price of your strong dollar in Philippine pesos. If the peso’s doing the cha-cha at 50 to your dollar, then that lone greenback you possess is worth a cool 50 pesos.
Like any good dance, there’s an ebb and flow to it. These days, the pendulum has swung the way of the Americans. As of this draft, the scales tip at 55 PHP per USD – that’s an impressive 18% climb from a few years ago.
Why the Dollar Packs a Punch in the Philippines?
Now, why does Uncle Sam’s currency have such a stranglehold on the Philippine peso? Firstly, we have the robust and hulking US economy, dwarfing the Philippine counterpart. Investors, ever the jittery lot, put their bets on the proven stallion – the strong dollar – enhancing its allure.
Then, there’s the lopsided trade scales between the nations. The Philippines, in their thirst for US goods and services, import more than they export. This voracious appetite for imports necessitates the purchase of US dollars, bolstering the dollar’s strength.
What Does the Flexing Dollar Mean to You?
Your potent dollar travels a lot further in the Philippines than back home. Let’s say you’re craving a local meal that costs 500 PHP. Your cost in greenbacks? A mere $9 USD. More food, fancier lodgings, and a veritable horde of souvenirs – that’s the advantage of the robust dollar.
The Limits of the Strong Dollar’s Reach
Yet, the dollar’s muscle isn’t universal. Certain goods and services, like high-tech gadgets and imports, are priced in their original form – US dollars. Here, the mighty dollar doesn’t offer you any particular leverage. If you plan to eat Texas beef, smoke Marlboros, and drink Jack Daniels, you’d best stay home as far as the exchange rate goes. Those imported items sell at a premium in Paradise (if you can even find them). Bring your gadgets with you, or buy them from Amazon in the US, which will ship certain items for free to the Philippines.
Navigating the Currency Waters: Finding Current Exchange Rates
For current exchange rates, the internet’s your treasure map:
Google Finance and XE.com are great resources, as is the cool one at the top of this page. Or, you can hit up your local bank or currency exchange bureau. Note that you’ll want to check these to see if money movers like WesternUnion are giving you a good exchange rate.
The Flux in the Dance: Exchange Rate Fluctuations
The dollar-peso tango is a dynamic one, changing with the tides of economic conditions, interest rates, and political upheaval both in the US and the Philippines. If a trip to the islands is on the horizon, keep an eye on these rates to ensure you enter the dance at the right beat.
Outro: The Might of the Strong Dollar in the Philippines
In the Philippines, the dollar’s might is your passport to more – more food, more experiences, more memories. Yet, remember this – not everything is priced in pesos. Your electronics, your imported goods – these are realms where the dollar’s strength doesn’t grant you extra buying power. The dollar vs peso power isn’t universal.
I trust this deep dive into the heart of the dollar vs peso dance has been enlightening. Got questions, queries, or observations? Feel free to leave a comment below. Let’s keep the conversation rolling.
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https://www.xe.com/
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en
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Xe: Currency Exchange Rates and International Money Transfers
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[] |
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""
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[] | null |
Get the best currency exchange rates for international money transfers to 200 countries in 100 foreign currencies. Send and receive money with best forex rates.
|
en
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/apple-touch-icon.png
|
https://www.xe.com/
|
Xe Currency Charts
Create a chart for any currency pair in the world to see their currency history. These currency charts use live mid-market rates, are easy to use, and are very reliable.
Xe Rate Alerts
Need to know when a currency hits a specific rate? The Xe Rate Alerts will let you know when the rate you need is triggered on your selected currency pairs.
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dbpedia
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| 2
|
https://stripe.com/in/resources/more/which-countries-use-pesos-a-guide-to-where-this-currency-is-used
|
en
|
Which countries use pesos?
|
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[] |
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[
""
] | null |
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2024-05-26T00:00:00-04:00
|
Which countries use pesos? Here's a list of where this currency is used.
|
en
|
https://assets.ctfassets.net/fzn2n1nzq965/01hMKr6nEEGVfOuhsaMIXQ/c424849423b5f036a8892afa09ac38c7/favicon.ico
|
https://stripe.com/in/resources/more/which-countries-use-pesos-a-guide-to-where-this-currency-is-used
|
The peso is the official currency of several countries, including Mexico, Argentina and Colombia. As a regional standard in Latin America, the peso facilitates substantial trade and investment activities within and across these nations. Each country's peso has distinct characteristics and economic implications which reflect that country's unique monetary policies and economic conditions.
For businesses operating in these economies, daily transactions and financial operations will inevitably involve the peso. The Mexican peso plays a huge role in global finance (particularly in the North American region), and since 2022, it has been the third-most traded currency from emerging markets. The Argentine peso, while experiencing some volatility, is prevalent in South American markets, and the Colombian peso is more stable relative to other regional currencies. These currencies influence local pricing mechanisms and price setting in commodities markets, especially for products such as copper and oil.
For international businesses, operating in pesos can minimise hassle surrounding currency conversion and mitigate some of the risks associated with fluctuations in exchange rates. However, the varying stability of the peso across different nations does require some careful financial planning and risk management. This guide will cover the historical development of the peso, and how the peso functions for cross-border financial transactions and as official domestic currency.
What's in this article?
History of the peso
Importance of the peso in the world economy
Which countries use the peso?
History of the peso
The term "peso" originally referred to the Spanish dollar, also known as the "piece of eight". Introduced by the Spanish monarchs Ferdinand and Isabella, who reformed Spain's coinage system in 1497, the peso was a silver coin that became a standard of trade across the Americas and Asia due to its uniform size and quality – making it one of the first global currencies.
As Spain established colonies across the world, the peso became a common currency in many parts of Latin America and the Philippines and was used for trade both within the empire and internationally. In the early 19th century, many Latin American countries gained their independence from Spanish rule and newly formed nations, such as Mexico, Argentina and Colombia, adopted the peso as their official currency. Each country minted its own version of the peso, leading to a variety of currencies with the same name but different values and designs.
Throughout the 20th century, many countries that used the peso experienced economic challenges, including hyperinflation, devaluation and redenomination, which affected the value of their respective currencies.
Today, the peso remains the official currency of several countries. The most widely recognised is the Mexican peso, a highly traded currency and a major player in the North American economy. Other countries such as Argentina and Chile use pesos that are distinct in their economic context and monetary value. Despite facing numerous economic crises, the peso continues to be an integral part of the financial systems in several countries and embodies a long tradition of commerce and cultural exchange.
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https://www.ibon.org/ph-peso-catch-me-im-falling/
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PH Peso: Catch Me I’m Falling
|
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2022-10-06T11:50:01+08:00
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The Philippine peso has been hitting record low after record low. This will be among the main drivers of accelerating domestic inflation which will burden Filipinos with rising prices of basic needs on top of their floundering incomes and earnings.
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en
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IBON Foundation
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https://www.ibon.org/ph-peso-catch-me-im-falling/
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The Philippine peso has been hitting record low after record low. This will be among the main drivers of accelerating domestic inflation which will burden Filipinos with rising prices of basic needs on top of their floundering incomes and earnings.
The government says the peso’s fall is due to external factors. The United States (US) Federal Reserve is particularly blamed for its aggressive interest rate hikes since the start of the year. Saying that so many other currencies are also weakening against the dollar, the government basically wants to justify inaction – because the peso’s fall is like a natural calamity that we have no control over.
Freefalling peso
US interest hikes do make the US dollar stronger which is a major factor in the peso’s current depreciation. However, the administration’s calculated dismissiveness diverts from how there are deeper reasons for the peso falling to record lows; there’s an underlying structural reason why the peso has been falling for over 60 years now.
Philippine peso falling to record lows. Philippine Peso per US Dollar exchange rate, 1946-Sept 2022p (Php)
Putting the blame entirely on the US also diverts from how the Marcos Jr. administration is not completely helpless and can take more active measures to at least moderate the peso’s depreciation.
Forex dump
Before anything else – what does it mean to say that the dollar exchanges for so many pesos? The foreign exchange (forex) rate is basically the amount of one currency that you can exchange for another. For instance, US$1 now exchanges for Php59.
That is the familiar putting of the dollar in peso terms. We can go the other way though and put the peso in dollar terms – in which case we get the less familiar but still correct calculation that Php1 exchanges for around US$0.017.
When the peso is said to be “weakening” the technical term for what is happening is that the peso is depreciating or losing value. In effect, the peso is getting cheaper – for example from being US$0.021 in January 2021 to less than US$0.017 today. The opposite happening is an appreciation.
If the forex rate is basically the price of a currency, then what sets this price? The current forex regime in the country is a flexible exchange rate system. Under this set-up, the price of the peso is basically set by its supply and demand in the forex market. To put it a little simplistically, imagine a forex market with just pesos and dollars. If the demand for dollars relative to the peso increases, then the price of dollars rises and conversely the price of the peso falls.
Another forex regime that was common for a very long time is the fixed exchange rate regime. Under this set-up, the government sets the price of its currency and decides when to change it depending on forex market conditions. Here, an adjustment downward in a currency’s value is called a devaluation (instead of depreciation) while the opposite is a revaluation.
The Philippines had a fixed exchange rate regime until 1970 when it adopted the flexible exchange rate system which it has until today
Even after supposed Philippine independence, the US tied the exchange rate at Php2:US$1. There were strict currency controls. Only the Central Bank traded in foreign exchange and decided where to allocate these. By 1962, direct controls were lifted and the banking system was allowed to do currency trading albeit under strict Central Bank regulation. All foreign exchange earnings had to be surrendered.
The peso was floated in 1970 and allowed to be set by foreign exchange trading and market conditions. The Central Bank however still continued to manage the currency through the purchase and sale of foreign exchange and some capital account restrictions. Notably, the consecutive devaluations in 1983-1984 under International Monetary Fund (IMF) stabilization programs precipitated inflation reaching a record-high 49.8% in 1984. Currency management was liberalized further in 1992.
Foreign exchange earnings increased especially with growing overseas remittances. Pursuing policies supportive of neoliberalism, the Central Bank declared inflation targeting as its approach to monetarist policy in 2002. This also meant that it formally stopped setting targets for the exchange rate and – apart from possibly some smoothening – would just accept the exchange rate resulting from prevailing policy interest rates set according to inflation targets.
Show your depreciation
A country’s foreign exchange rate is a strange creature. It measures the demand for a currency but can actually also be a tool for influencing the demand for a currency. This is also why a depreciation or devaluation is not necessarily a sign of “weakness” and, in a different context, may even be consciously used by a government to boost exports.
In the case of the peso though, it really is a sign of weakness. It is no coincidence that the peso’s decades-long freefall accelerated as the Philippines liberalized and weakened domestic agricultural and manufacturing production.
Peso depreciated as agricultural and domestic manufacturing weakened. Industry Share of GDP, 1946-2021 (%, at constant prices)
This is also the broader context in which to understand recent comparisons of the peso’s fall against other countries. The peso’s problem, we are told, is not exceptional because the currencies of other more developed countries like Japan and Korea are also falling.
Yet while this may be the case in the last few months, the picture is different taking a longer view.
Peso historically falling much more than Thai baht, Malaysian ringgit, Japanese yen, and Korean Won. Average USD per selected Asian currencies, 1966-present (1986=100, monthly)
From this perspective, the peso has clearly fallen much more than the Malaysian ringgit, Thai baht and Korean Won. The Japanese yen even strengthened.
These countries have also seen their domestic economic foundations improve by so much more than ours – even those who may have seen their currencies “weaken” in the past decades.
Trading down
The country’s import-dependence has been worsening since the dictator Marcos set the country on the path of neoliberal economic policies especially from the late 1970s. With manufacturing at its smallest share of the economy since the 1950s and agriculture at its smallest in the country’s history, the country is importing more and more of what it needs.
These imports are largely paid for in dollars, and what the constant peso depreciation is saying is that the country is not earning enough dollars to pay for these imports and other foreign transactions. The demand for foreign exchange is for imports but also to finance hot money or portfolio investment outflows, profit remittances of foreign corporations, overseas investments and spending of Filipinos, and external debt service.
Exports being less than imports is a big factor though and the country’s trade deficit is not just chronic but even worsening.
Trade deficits worsened in the era of neoliberalism, Trade surplus/deficit, 1946-2021 (US$ million, % of GDP)
Whether measured in absolute terms or as a share of gross domestic product (GDP), the country’s trade deficit has gravely worsened since the late 1970s. The US$43.1 billion deficit equivalent to 11% of GDP in 2021 is already the second worst in the country’s history.
The peso’s depreciation is justified as improving exports by making what the country produces cheaper and implicitly improving our trade balance. This does not seem to be the case though and decades of the peso depreciating have just seen the trade deficit generally worsening.
Peso falls but trade deficits still grow. Trade deficit (as % of GDP) and Peso-Dollar exchange rate (Php:US$), 1946-2021
This is mainly because of underdeveloped agricultural and industrial production. The peso’s depreciation makes imports more expensive with unfortunately no substantial domestic export response because we are producing so little that the rest of the world would be interested in. The growing import bill offsets any supposed export gain.
As it is, agricultural, forestry and mineral products are down to less than 15% of exports. Although some 85% of reported exports are manufactured goods, these are mostly made by foreign manufacturers based in the Philippines that are themselves hugely import-dependent.
The country’s agricultural trade includes manufacturing raw materials like tobacco and wood, animal feeds, ornamental plants, and other non-food products. Still, the overwhelming majority of agricultural trade consists of food. The country’s growing food insufficiency is particularly striking.
Agricultural trade deficit at record high. Agricultural trade surplus/deficit, 1980-2021 (US$ million, % of GDP)
It means that we are producing or exporting less and thus importing more agricultural products. The agricultural trade deficit of US$8.9 billion deficit equivalent to 2.3% of GDP in 2021 is the biggest in the country’s history.
OFWs win?
The peso’s fall would be even worse were it not for the country’s single biggest source of foreign exchange – overseas Filipino workers (OFWs). While overseas remittances continue to increase, the rate of growth has slowed and their equivalent share in GDP has actually been falling for over a decade now.
Overseas remittances still growing but weakening. Overseas Remittances, 1980-2021 (US$ million, % of GDP)
Another way that the peso depreciation is spun is that OFW families benefit. Yet though substantial, less than three out of five Filipino families (28%) get cash receipts from abroad and will gain from a stronger dollar vis-à-vis the peso (Family income and Expenditures Survey or FIES 2015). As it is, only 7.2% of total family income comes from abroad which is actually much smaller than 11.1% reported two decades ago in 2000 (FIES various years).
The average cash remittance of OFWs is even falling and is down to just Php12,963 monthly as of 2020 from Php13,683 the year before (Survey on Overseas Filipinos 2020). A large part of any foreign exchange gain that families receive will likely just be off-set by the rising prices of goods and services.
This is even aside from how the OFWs themselves are likely also struggling with rising prices wherever they are deployed to.
Taking control
What should be done? The most important long-term concern is to strengthen the economy’s fundamentals – develop domestic agriculture and build Filipino industry. This should lessen the demand for dollars to import so much of our needs, as well as increase the supply of dollars from selling genuinely Filipino world-class products.
That journey of a thousand miles can however begin with a single step today – moderating the peso’s fall to lessen the adverse impact on millions of distressed Filipino households. The pressure on the peso from growing demand for finite dollars can be lessened. Little can be done in the short-term in terms of reducing imports of essential food and fuel, even as there should already be investments in reducing this import-dependence.
More can be done by the government reining in its own demand for dollars. It can pull back on the so-called Build, Better, More (BBM) infrastructure projects that import so much of their materials, machinery, equipment and even contractors. It can also negotiate with foreign creditors to reschedule external debt service, especially international development agencies and governments seen as “partners, friends and allies”.
The government can also consider capital controls especially on the outflow of capital as successfully used, for instance, by Malaysia and Taiwan during the 1997 Asian Financial Crisis and notably by China and India even today. There can be targeted measures to slow short-term portfolio capital movements or perhaps even other external capital transactions. These can range from higher transaction taxes to more explicit restrictions. These will be easier to impose if the Philippines coordinates with other countries in similarly difficult circumstances.
There are no easy answers to the mounting difficulties the Philippine economy and the Filipino people are facing. Neoliberal or free market dogma is however a self-imposed constraint that the government can choose to relax in favor of a more pragmatic approach. The situation is so urgent that any and every justification for inaction should be critically examined.
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9083
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dbpedia
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0
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https://www.bsp.gov.ph/SitePages/CoinsAndNotes/EnglishSeries.aspx
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en
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Bangko Sentral ng Pilipinas Coins And Notes
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English Series Banknotes (1949-1974)
When the American liberation forces arrived in 1944, they brought the currency called the Victory Series No. 66. With the creation of the Central Bank of the Philippines in 1949, came the issuance of the English Series. They were in denominations 1, 2, 5, 10, 20, 50, 100, 200 and 500 pesos; all bearing portraits of Filipino heroes on the obverse, vignettes in Philippine history on the reverse, and worded in English language. On the other hand, all denominations of the Victory Series No. 66 were overprinted with “Central Bank of the Philippines” on the reverse side, and remained legal tender until July 30, 1964.
The two highest denominations of the English Series were later withdrawn from circulation on December 31, 1957, pursuant to R.A. No. 1516. Only notes of 1 up to 50 pesos continued to be printed until 1961.
Small-denomination notes were also printed from 1951 through 1957 (5-, 10-, 20- and 50-centavos) to replace the US-Filipinas metallic coins. In 1955, the Half-Peso note of bigger dimensions also went into circulation. On January 5, 1970, these small notes ceased to be legal tender. Pursuant to Presidential Decree No. 378, all banknotes of the English Series were considered demonetized after February 28, 1974.
Click on image for more info
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9083
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dbpedia
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2
| 95
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https://www.tradingview.com/symbols/USDPHP/
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en
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USD PHP Chart — U.S. Dollar to Philippine Peso — TradingView
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2024-05-29T19:43:20+00:00
|
View live U.S. Dollar / Philippine peso chart to track latest price changes. Trade ideas, forecasts and market news are at your disposal as well.
|
en
|
https://static.tradingview.com/static/images/favicon.ico
|
TradingView
|
https://www.tradingview.com/symbols/USDPHP/
|
60M+
Traders and investors use our platform.
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9083
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dbpedia
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3
| 36
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https://support.squarespace.com/hc/en-us/articles/205811248-Supported-countries-and-currencies-for-Squarespace-Commerce
|
en
|
Supported countries and currencies for Squarespace Commerce
|
https://support.squarespace.com/hc/theming_assets/01HZFVW1PBV9VS8RBJXN5XJXNF
|
https://support.squarespace.com/hc/theming_assets/01HZFVW1PBV9VS8RBJXN5XJXNF
|
[] |
[] |
[] |
[
""
] | null |
[] |
2024-07-25T18:31:44+00:00
|
The countries you can sell to and the currencies customers can use to pay you. The countries you can sell in and the currency you can...
|
en
|
/hc/theming_assets/01HZFVW2268CTBGRZP9T7CBH60
|
Squarespace Help Center
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https://support.squarespace.com/hc/en-us/articles/205811248-Supported-countries-and-currencies-for-Squarespace-Commerce
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The countries you can sell to and the currencies customers can use to pay you.
The countries you can sell in and the currency you can accept depend on the payment processor you connect to your store. Your store can only accept one currency at a time.
This guide covers Stripe and PayPal’s supported countries and currencies, and answers questions you may have if you use Squarespace Commerce outside the US.
Who can shop in my store?
You can accept our payment methods from anywhere in the world where they're supported. We don't impose additional location restrictions for shoppers buying products from your store.
International shoppers in some countries may be charged additional fees by their banks. Visit Stripe and PayPal’s documentation for more information.
Does Squarespace Commerce support my country?
It depends on how you accept payments. To accept payments, you'll need to connect a payment processor that supports your country. You can connect Stripe, PayPal, or both.
Stripe's supported countries
Visit Stripe’s Global page to see a list of their supported countries. Countries are classified in three ways:
Live: These countries have full support and access to all Stripe features. Anyone can sign up and create an account.
Open Preview: Preview countries may not include all Stripe features. Anyone can sign up and create an account.
Closed Preview: Closed preview countries may not include all Stripe features. Closed previews are by invitation only. You can request an invite on Stripe's Global page.
To learn more Stripe's country previews, visit their documentation.
Argentina, Colombia, Indonesia, and South Africa
While Stripe supports the national currencies for these countries, it's not currently possible to create a Stripe account in these locations. This means that to sell in ARS, COP, IDR and ZAR your Stripe account must be located elsewhere, in a supported country in their core network. Stripe's extended network of African countries, including South Africa, is powered by Paystack, which Squarespace doesn't support.
PayPal’s supported countries
Visit PayPal’s Global page to see a list of their supported countries.
Does Squarespace support my currency?
Note: In some countries, like in South Africa and Indonesia, it's not possible to create a Stripe account even if the national currency is supported by Stripe. Check Stripe's global page to see if you can create a Stripe account in your country.
Squarespace currently supports these currencies:
Argentine Peso (ARS) - (Stripe only, with limitations)
Australian dollars (AUD)
Brazilian Real (BRL)
British pound (GBP)
Canadian dollars (CAD)
Colombian Peso (COP) - (Stripe only, with limitations)
Czech Republic koruna (CZK)
Danish krone (DKK)
Euro (EUR)
Hong Kong dollar (HKD)
Indian Rupee (INR)
Indonesian Rupiah (IDR) - (Stripe only, with limitations)
Israeli shekel (ILS)
Japanese yen (JPY)
Malaysian ringgit (MYR)
Mexican peso (MXN)
New Zealand dollar (NZD)
Norwegian krone (NOK)
Philippine peso (PHP)
Polish zloty (PLN)
Russian ruble (RUB)
Singapore dollar (SGD)
South African Rand (ZAR) - (Stripe only, with limitations)
Swedish krona (SEK)
Swiss franc (CHF)
Thai baht (THB)
US dollars (USD)
You can choose one currency for your store. All Squarespace Commerce charges (orders, taxes, and shipping) will be processed in your store currency.
Note: Stripe and Paypal support other currencies that aren’t currently available for Squarespace Commerce.
Stripe’s supported currencies
After connecting a Stripe account to Squarespace, your store will automatically update to display the currency associated with your Stripe account, if that currency is supported by Squarespace. You can change this currency at any time.
The available currencies depend on where your connected bank account is located.
U.S., U.K., Australian, and European bank accounts support all currencies listed above.
Canadian bank accounts only support USD and CAD.
Indian bank accounts only support INR.
Mexican bank accounts only support MXN.
New Zealand bank accounts only support NZD.
Stripe charges a conversion fee for transactions in a currency that isn’t associated with your bank account. The conversion fee varies, but it's about 2% on top of the regular transaction fees. To learn about this, visit Stripe's documentation.
Tip: If your country supports multiple currencies, we recommend choosing the currency used by the bank account connected to your Stripe account. Funds in that currency will go to that account with no conversion fee.
PayPal supported currencies
After connecting a PayPal Business account to your Squarespace site, your store will automatically update to display your PayPal Business account’s primary currency, if that currency is supported by Squarespace. You can change this currency at any time.
PayPal charges a conversion fee for changing currencies. To learn about this, visit PayPal’s documentation.
PayPal doesn't support these currencies:
Argentine Peso (ARS)
Colombian Peso (COP)
Indian Rupee (INR)
Indonesian Rupiah (IDR)
South African Rand (ZAR)
PayPal has limited support for these currencies:
Malaysian ringgit (MYR) - Supported by Malaysian PayPal accounts only
Tip: If your country supports multiple currencies, we recommend choosing the currency set as your primary currency in your PayPal Business account.
Where can I ship my products?
You can ship your products anywhere in the world, as long as your mail carrier supports it. We have integrations with USPS, UPS, and FedEx, but you can use any carrier you’d like by setting up flat rate shipping options, which charge your customers a set amount at checkout to cover your shipping costs.
Can I collect VAT or GST?
Yes. Squarespace supports tax-inclusive pricing and customizable order receipts. For help setting this up, visit Collecting VAT or GST.
Can I change my store currency?
Yes. After connecting a payment processor to your Squarespace site, you'll see all available currencies for your account in the Store payments panel. To learn more, visit Changing your store's currency.
Can I choose a different store currency than my bank account (Stripe) or primary currency (PayPal)?
You can sell in a currency that isn't linked to your bank account. However, your payment processor may charge a conversion fee for each transaction. You can review the fee and more details on Stripe’s pricing page and PayPal’s user agreement.
Can I choose multiple currencies for my store?
No. You can only sell in one currency for your store at this time. Your payment processor determines the available store currencies. If you’ve connected both Stripe and PayPal, a currency must be supported by both the bank account connected to your Stripe account and by PayPal to display in the drop-down menu.
What if my country isn't supported by Stripe or PayPal?
Stripe and PayPal are the only integrated payment processors we support. To use Squarespace Commerce, you must have a bank account (for Stripe) or PayPal account based in a country supported by one of these providers.
If your country isn’t currently supported by Stripe, connect PayPal only. Stripe is continually adding support for new countries. You can view their documentation here.
Get notified about updates
To receive notifications about new currency and country options in Squarespace, open a ticket with this information:
Subject - Currency/Country commerce Request
Your domain name or Squarespace URL
Your email address
The currency and country you need Squarespace to support
</>
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https://treasury.un.org/operationalrates/OperationalRates.php
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en
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UN Operational Rates of Exchange
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Operational exchange rates for one United States Dollar (USD) listed by country. You can navigate the list by clicking on a letter.
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https://seasia.co/2023/06/01/philippine-peso-a-resilient-currency-amid-rate-cuts-in-southeast-asia
|
en
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Philippine Peso: A Resilient Currency Amid Rate Cuts in Southeast Asia
|
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[
"Diandra Paramitha",
"Seasia.co"
] |
2023-06-01T00:00:00
|
Foreign exchange traders are changing their strategies in anticipation of a rate cut, and in this situation, the Philippine peso
|
en
|
Seasia.co
|
https://seasia.co/2023/06/01/philippine-peso-a-resilient-currency-amid-rate-cuts-in-southeast-asia
|
Foreign exchange traders are changing their strategies in anticipation of a rate cut, and in this situation, the Philippine peso seems to be an attractive option. Historically, the peso has been the least affected currency by monetary easing among other Southeast Asian countries.
Quoted from Bloomberg, the peso tends not to weaken significantly or even strengthen when interest rates are loose. Data since 2007 shows that the Philippine peso has a weak monthly correlation of minus 0.3 to the Philippine policy rate. Meanwhile, currencies such as the ringgit, baht and rupiah tend to weaken against the US dollar when domestic interest rates are cut.
The Philippine peso's gains did not stop there. The strengthening of the currency is supported by high interest rates in the region, with the Philippine central bank implementing aggressive policies to control inflation. This gives the Philippines an edge in the face of US Federal Reserve interest rates. In addition, the constant flow of remittances from Filipinos working abroad is also a positive factor, as those foreign earnings are converted into Philippine pesos.
A Bloomberg survey of analysts forecasts that the Philippine peso will continue to strengthen in the coming timeframe, with the exchange rate expected to reach 54 per US dollar in the fourth quarter and 52.9 next year.
The importance of maintaining the stability of the peso exchange rate is a top priority for the Philippine government in curbing inflation. Therefore, the central bank is not expected to cut interest rates before the central banks of neighboring countries. This belief is based on the fact that the Philippine peso has lower foreign ownership of local currency bonds compared to its neighbors.
In addition, the Philippines also benefits from money sent home by Filipinos working abroad. This is a trend that is not so apparent in neighboring countries. In a World Bank report, remittances of $33 billion by 2022 account for about 8% of the Philippines' gross domestic product, which is the highest among major Asian countries.
With strong exchange rate stability, tight monetary policy, and the support of remittance flows, the Philippine peso is an attractive and resilient currency amidst the turmoil of interest rate easing.
Source: Bloomberg
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https://theculturetrip.com/asia/philippines/articles/php-explaining-pesos-the-currency-of-the-philippines
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en
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PHP: Explaining Pesos, The Currency of The Philippines
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"today",
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[
"Katrina Escalona"
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2018-05-26T22:28:40+00:00
|
The Philippine Peso has gone through quite the journey to get to where it is today. Discover the history of this vibrant Asian currency and learn the...
|
en
|
/img/apple-touch-icon.png
|
Culture Trip
|
https://theculturetrip.com/asia/philippines/articles/php-explaining-pesos-the-currency-of-the-philippines
|
A vibrant representation of not only the Filipino figures and natural riches they are embellished with, the ever-developing Philippine Peso has also come to represent the country’s vigorous journey through colonization and independence. From its dynamic past to what each bill can get you today, here’s everything you need to know about the Philippines’ currency.
A brief history
Philippine history is often broken down into the different colonial periods the country has undergone. Similarly, Philippine money through the years can also be classified according to the ruling colonial power of the time.
While the islands of pre-colonial Philippines, then already active in international trade, had mediums of exchange such as cowrie shells and gold beads, it wasn’t until the Spanish Era that the country adapted paper money in the form of pesos fuertes. Decades later, a brief revolutionary period after the 1898 Declaration of Independence also brought about a short-lived revolutionary currency that was withdrawn soon after the arrival of the Americans.
Under colonial American rule around the first half of the 1900s, banknotes were consistently changed from Spanish to English and the peso then was valued at half of the US dollar. And when the Japanese occupied the Philippines nearing the mid-1900s, so much money was released into circulation that the fiat peso became known as “Mickey Mouse money” for the little it could afford due to inflation.
When the Central Bank of the Philippines was established in 1949, it momentarily continued an English series of banknotes until it initiated a more nationalistic currency series in the late 1960s which bore the Filipino language and the images of national heroes. This patriotic shift was the beginning of designs that led to today’s Philippine Peso.
The PHP today
The days of the 2:1 ratio of the Philippine Peso to the US dollar are long gone as conversion rates today sit at over ₱52 to $1, with the Philippine currency performing the worst it has in over a decade. While this slump renders the Peso weak and rather unstable, the silver lining lies in the millions of Overseas Filipino Workers (OFWs) who regularly send remittances to family back home. As OFW remittances rise in value, they continue to aid the country’s economy, sustaining and growing its domestic consumption.
Notes
Today there are six Filipino banknotes in circulation: the 20, 50, 100, 200 (being the least common), 500, and 1,000 peso bills. All don vibrant hues and the images of significant people and events in Philippine history, as well as those of the country’s endemic fauna, sights, and natural wonders. The bills are made of 80% cotton and 20% abaca, and possess a slightly rough texture. While they don’t vary in size, they distinctly differ in their striking colors of orange, red, purple, green, yellow, and light blue, respectively.
See privacy policy.
The most recent banknote design series, named the New Generation Currency, was released in 2010 and became the official series in circulation just last year, when the New Design Series, in circulation since 1985, was demonetized after June 2017.
Coins
Currently, coins from the previous BSP Coin Series and the recently released New Generation Currency Coin Series co-exist. The complete set of newer coins were released in March 2018 and will be formally launched in July. It consists of six coins: the 1-sentimo, 5-sentimo, 25-sentimo (cents), and the 1-piso, 5-piso, and 10-piso coins. The previous series, released in 1995 and of legal tender until otherwise announced by the central bank, had the same denominations plus a 10-sentimo coin, discontinued in the new series.
Released just earlier this year, the newer set of Philippine coins have already amassed negative sentiment on social media from Filipinos disappointed by the new design. While the new coins slightly increase in size according to value, all six of them are silver and of designs so similar, people think them to be almost indistinguishable at quick glance. This can be cause for concern for Filipinos who work mostly with coins such as jeepney drivers, who often have to reach for and hand back change to passengers while driving.
Similar to the new banknotes, the New Generation coins display the images of national heroes and endemic Philippine flora. People might have to get used to paying more attention to the edges when using these new coins, as this is where they differ, some with plain edges, others with reeds, and the 10-piso with some edge lettering.
What will your money get you?
₱20
A 20-peso bill will always come in handy for taking public transport or getting a tasty street food fix. A common saying among tricycle or jeepney drivers and street vendors is: “Barya lang po sa umaga.” This roughly translates to a request that their passengers or customers pay in smaller denominations, especially in the mornings, when they don’t have enough change to give back if they were handed a large bill. So avoid giving your tricycle driver or kwek-kwek vendor a hard time and keep a 20 in your pocket when hitting the streets.
₱50
50 pesos can get you a full Filipino meal at a local carinderia (small eatery) or either a nice cold bottle of local San Miguel beer or tall glass of the famous halo-halo to beat the humid Philippine heat.
₱100
Take a 100 down to the nearest Jollibee and have one of their classic local favorites like a Chickenjoy meal, some Jolly Spaghetti, or a burger steak with rice.
₱200
At the beach, 200 PHP is enough to rent out a kayak for a few hours or some snorkelling gear. It could also rent a small beach cottage for a small group of friends. Or you can also take your 200 peso bill to shopping centers like Greenhills and Divisoria, bargain hard, and walk away with anything from pearl jewelry to a trendy new dress.
₱500
500 PHP, a little less than $10, can go far in the Philippines. Take a kalesa ride around Intramuros, treat yourself to a nice restaurant at a Manila mall, get a two-hour full body massage, watch a movie at a theater with La-Z-Boys and butler service … the list goes on.
₱1,000
With the country’s biggest banknote, you have enough to pay for a memorable experience. Island hop around some of the country’s finest islands, take a one-of-a-kind performance tour around historical Manila, or even score a cheap flight from one region to the next.
Tips for splashing your cash
While bustling Metro Manila is your typical big city with the advanced facilities expected of one, remember that when venturing out to the more rural areas of the Philippines, you might find your credit or debit cards to be quite useless. In the country’s smaller islands and villages, be prepared for the possible absence of ATM’s and establishments that take credit cards. So keep a reasonable amount of cash on hand when making trips off-the-beaten-path.
Another important thing is to know when and when not to bargain. A typical misconception of Western travellers about the Philippines is that everything is and should be cheap, otherwise they are being scammed. So it’s helpful to understand that there are places for bargaining and negotiating such as tiangge stalls and roaming souvenir vendors, but that it isn’t customary in more formal establishments.
If you deem a price too high, don’t automatically assume you are being cheated, and simply decline politely and walk away. There are some cases however where your safest bet is firmly agreeing on a price beforehand, such as with public transport like tricycles or casual local guides. Before using their services, make sure you’ve both decided on a price to avoid any disputes at the end of the trip.
And finally, try to make a local friend—they will know where and how you can make the most of your cash. As the saying goes: “Do as the locals do.” This isn’t only a matter of cultural immersion but also of spending your money where it’s worth it.
Filipinos love to eat, shop, and have fun, but they’re also great at spending as little as possible while they’re at it. So get in on local favorites, be it with food or shopping, and you can be sure to get a bang for your Philippine buck.
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