<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>5</ref-type><contributors></contributors><titles><title><style face="normal" font="default" size="100%">&quot;Ξεθάβουν τώρα τα αγάλματα&quot;: οι αισθητήριες αρχαιολογίες του Γιώργου Σεφέρη.</style></title><secondary-title><style face="normal" font="default" size="100%">Τιμητικός Τόμος για τη Στέλλα Δρούγου</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2016</style></year></dates><urls><web-urls><url><style face="normal" font="default" size="100%">https://www.academia.edu/31082554/_%CE%9E%CE%B5%CE%B8%CE%AC%CE%B2%CE%BF%CF%85%CE%BD_%CF%84%CF%8E%CF%81%CE%B1_%CF%84%E1%BD%B0_%E1%BC%80%CE%B3%CE%AC%CE%BB%CE%BC%CE%B1%CF%84%CE%B1_._%CE%9F%CE%B9_%CE%B1%CE%B9%CF%83%CE%B8%CE%B7%CF%84%CE%AE%CF%81%CE%B9%CE%B5%CF</style></url></web-urls></urls><publisher><style face="normal" font="default" size="100%">Ταμείο Αρχαιολογικών Πόρων και Απαλλοτριώσεων</style></publisher><pub-location><style face="normal" font="default" size="100%">Αθήνα</style></pub-location><pages><style face="normal" font="default" size="100%">348-368</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">&lt;p&gt;In June 1946 George Seferis, the eminent Greek poet who was going&lt;br&gt;to become the Nobel-laureate patriarch of Greek modernist poetry by&lt;br&gt;1963, witnessed the re-excavation of the statues and vases until then&lt;br&gt;hidden in the vaults of the National Museum in Athens in order to&lt;br&gt;prevent their damage, or looting, by the Germans during the occupation.&lt;br&gt;As he observes the bronze statue of Zeus, a fifth-century BC work that&lt;br&gt;is still considered one of the masterpieces in the Museum’s collection&lt;br&gt;and of Greek art at large, the poet fantasizes the god’s lovemaking with&lt;br&gt;a woman whom Seferis himself “would love”, as he unashamedly informs&lt;br&gt;us in his diary from that day. In the paper, I use the concept of&lt;br&gt;homosociality in order to explore the ways in which Seferis and many&lt;br&gt;of his contemporaries view classical antiquity and proceed to deploy it&lt;br&gt;as a bio-political tool in order to claim a centralized role in Greek&lt;br&gt;intellectual and political life. To this end, I re-visit Seferis’s two chief&lt;br&gt;“archaeological” poems –The King of Asine and Engomi – in an effort&lt;br&gt;to investigate the ways in which his sensory archaeologies manifest&lt;br&gt;themselves.&lt;/p&gt;</style></abstract></record></records></xml>